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Penmanship Made Easy 

To Both Teacher and Student 


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PENMANSHIP MADE EASY 

TO BOTH 

Teacher and Student 

BY MEANS OF 

Suggestions, Cautions, Questions 
Directions, Etc. 



3 

By H. M. HILL 

Supervisor of Writing, Columbia City Schools, Columbia, S. C. 
Formerly Director of Penmanship, Michigan State Normal 
Ypsilanti, Mich. 




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Copyright, 1923, 

By H. M. Hill 


THE R. L. BRYAN COMPANY 
COLUMBIA, S. C. 

©C1A781673 

OCT 25 ’23 
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CONTENTS 


Part I 

Page 

1. Special Suggestions on Position and Penholding. 1 

2. Position of Paper. 3 

3. Vital Miscellaneous Suggestions. 3 

4. General Directions. 6 

5. Counting . 6 

6. Study Essential. 7 

7. Correction . 8 

8. Questions. 8 

9. Reviews . 8 

10. Incidental Teaching. 9 

11. Adjusting Paper. 9 

12. General Suggestions.10 

13. Capital and Small Letters.10 

14. Pencils .12 

15. Pens .12 

16. Penwipers . 12 

17. Inkwells.12 

18. Taking Ink.13 

19. Helpful Suggestions for Teachers.13 

20. Blackboard Writing.15 

21. Left-handWriting.16 























CONTENTS— Continued 


Part II 


Capital Letters, Small Letters, and Numerals—How to 
Make and Teach Them 



Page 


Page 


Page 


Page 

A. . 

. . . 19 

Q.. 

. . . 81 

g. • 

. . . 43 

v. . 

...100 

B. . 

. . . 23 

R. . 

. . . 85 

h. . 

. . . 47 

w. . 

...103 

C. . 

. . . 26 

S. . 

. . . 89 

i. . 

. . . 52 

X. . 

...106 

D. . 

. . . 30 

T. . 

. . . 92 

j. • 

. . . 55 

y. • 

...109 

E. . 

. . . 33 

U. . 

... 94 

k. . 

. . . 59 

z. . 

...112 

F. . 

. . . 37 

V. . 

. . . 97 

1. . 

. . . 63 

1.. 

...113 

G. . 

. . . 41 

W. . 

...101 

m. . 

... 67 

2. . 

...117 

H. . 

. . . 44 

X. . 

...104 

n. . 

. . . 71 

3. . 

...118 

I. . 

. . . 49 

Y. . 

...107 

o. . 

... 15 

4. . 

...113 

J. . 

. . . 53 

Z. . 

...110 

p. . 

... 19 

5. . 

...119 

K. . 

. . . 57 

a. . 

. . . 21 

q. . 

. . . 83 

6. . 

...115 

L. . 

. . . 61 

b. . 

. . . 25 

r. . 

. . . 87 

7. . 

...114 

M. . 

. . . 64 

c. . 

. . . 28 

s. . 

. . . 91 

8. . 

...116 

N. . 

. . . 68 

d. . 

. . . 32 

t. . 

. . . 92 

9. . 

...115 

0. . 

. . . 72 

e. . 

. . . 36 

u. . 

. . . 96 

0. . 

...116 

P. . 

... 11 

f. . 

. . . 40 



























































PREFACE 


The excuse for these helpful suggestions, gentle re¬ 
minders, cautions, questions, etc., on penmanship ap¬ 
pearing in book form is to fill a gap left open by some 
of the adopted texts on penmanship which have little, 
if any, such information for the teacher and pupil. 
They do, however, provide excellent copies for study 
and comparison, but I find that teachers are looking 
for further help, such as I have endeavored to give them 
in the following pages. 

This book is full of valuable suggestions that will 
stimulate interest in the study and practice of hand¬ 
writing and enable the student to acquire it through 
intelligent practice rightly directed. It contains a 
veritable mine of information for the inexperienced 
teacher, that will help make the teaching of writ¬ 
ing a pleasure to her, rather than a dread, and for 
the ambitious student it provides a way for the fur¬ 
therance of his knowledge and skill. 

Realizing the need of the information which this 
book contains, as a ready reference for the teacher in 
the preparation of the penmanship lesson, and for the 
aspiring student who wishes to go beyond the confines 
of mere copies for assistance, I have prepared this lit¬ 
tle volume. 

The teacher will readily find in this book ample 
material for as many lessons on the letters, both large 
and small, including the numbers, as she cares to give. 
It is my hope that she will begin the study of these 
suggestions and instructions with the full realization of 
their importance to her, as teacher of student, and 
with resolute determination to derive from them the 
greatest possible benefit. 

H. M. Hill 


Columbia, S. C., Sept. 17 , 1923 . 





PENMANSHIP MADE EASY 

PART I. 

MAY THIS BE YOUR BEST YEAR IN PENMANSHIP 


Suggestions that will Make Writing 
Easier to Teach 

Teachers should read carefully every word under 
the following captions, as the suggestions and instruc¬ 
tion under each have direct bearing upon the instruc¬ 
tions under each letter and number, “How to Make 
and Teach It”: 

Special suggestions on Position and Penholding, Po¬ 
sition of Paper, Vital Miscellaneous Suggestions, Gen¬ 
eral Directions, General Suggestions, Capital and Small 
Letters, Suggestions on Pens, Pencils, etc., Helpful 
Suggestions for Teachers, Blackboard Writing, and 
Left-hand Writing. 

Study is essential to progressive practice. 

Practice without study is practice cast to the “winds.” 


SPECIAL SUGGESTIONS ON POSITION 
AND PENHOLDING 

(1) You should sit erect and allow both arms to 
rest lightly on the muscle just forward of the elbow, 
with the elbows projecting an inch or two over the 
edge of the desk. 

(2) The feet should be kept flat on the floor and 
slightly separated. This has a tendency to keep the 
back straight and to take away all the desire to droop 
the shoulders and to lean forward. 

(3) You should lean slightly forward so the body 
will come within three or four inches of the desk. Face 
the desk squarely, bending the body at the hips only. 



2 


Penmanship Made Easy 


(4) Tip the head slightly forward to get the proper 
vision, but not to either side. 

(5) The eyes should be no nearer than 10 to 14 
inches from the paper. 

(6) Do not permit the hand to turn over on its side 
as it moves across the page. No part of the hand or 
wrist should touch the paper except the tips of the 
third and fourth fingers. 

(7) The hand should be nearly relaxed, with just 
enough tension to hold the pen in control. The hand 
should be half closed, with all fingers touching each 
other. 

(8) The function of the hand and fingers is simply 
to hold the pen in correct position. 

(9) The forefinger should simply rest on the pen¬ 
holder, in line with the eyelet, and about even with 
the end of the holder. 

(10) The thumb should be nearly opposite the first 
joint of the index finger and opposite the first joint 
of the second finger. 

(11) The penholder should point over the shoulder 
near where the sleeve joins the coat. 

(12) The pencil or penholder should cross the sec¬ 
ond finger at or near the root of the nail, and the fore¬ 
finger just forward or back of the large knuckle; pref¬ 
erably back of it rather than in front. Do not allow 
the pen or pencil to fall down against the thumb and 
remain there. 

(13) Both nibs of the pen should touch the paper 
evenly and with equal weight. Do not let the pen 
“walk on one foot.” 

(14) Make good use of the illustrations found in 
your manual for additional help along this line. 


Penmanship Made Easy 


3 


(15) The forearms rest on the desk at right angles 
to each other, with no weight of the body resting upon 
them, especially on the right. 

(16) The right arm should rest on the desk approxi¬ 
mately in the same position at all times. 

(17) The left hand should be always above the line 
of writing, and used in shifting the paper when neces¬ 
sary. 

(18) See that the hand moves to the right with each 
forward movement of the pen. 

(19) Keep the muscle in front of the elbow resting 
on the desk. 

(20) Correct position of the body, arms, hand, pen, 
and paper is quite an important factor in learning to 
write a good hand. Give special attention to each 
part of the writing-machine. 


POSITION OF PAPER 

(1) The paper should be placed directly in front of 
the body near the middle of the desk, and should be 
turned or slanted so that the ruled lines will be nearly 
parallel with an imaginary line running from the upper 
right-hand to the lower left-hand corners of the desk. 

(2) The slight shifting of the paper as the hand 
moves to the right can be done most conveniently with 
the left hand. 

(3) You should begin to write a little to the left of 
the center of the body and about six to eight inches 
from the lower edge of the desk. The exact distance 
depends upon the length of the arms. 


VITAL MISCELLANEOUS SUGGESTIONS 

(1) Strive to maintain correct writing habits. Make 
a careful study of correct position of the body, arms, 




4 


Penmanship Made Easy 


hand, pen, and paper. Do not overlook the impor¬ 
tance of these things. Unless mechanical conditions 
are correct, you need not look for excellence. 

(2) Excellence in writing is the result of acquiring 
something definite with each effort. 

(3) Watch the path of the pen and try to control the 
movement. 

(4) Before touching the pen to the paper, and in 
ending drills, letters and words, let the pen swing 
lightly from the paper while in motion. Place em¬ 
phasis on this as it produces light writing and free 
movement. 

(5) Earnest effort, careful practice, and a desire to 
make good, will always bring good results. 

(6) Most people fail because they do not think they 
can succeed. 

(7) Study, criticise, and correct constantly. 

(8) If your mental picture of a letter is correct, you 
will naturally strive for the right form, whether you 
are aware of it or not. 

(9) Much unnecessary effort is expended and much 
paper wasted by practice following superficial obser¬ 
vation. 

(10) You should keep definitely in mind the form 
of the letter you are trying to improve. 

(11) Our highest attainment in writing, as in Eng¬ 
lish, will come only after we are grounded on the fun¬ 
damental essentials. 

(12) To make the most progress and secure the best 
results in writing, position and penholding must be 
correct. 

(13) Let ease of execution be your watchword and 
graceful writing will follow as surely as result follows 
cause. 


Penmanship Made Easy 


5 


(14) Remember that a good, smooth line can never 
be secured with a slow movement. 

(15) That hand, if not constantly and carefully di¬ 
rected by the mind, cannot work effectively. 

(16) A pupil who does not adhere strictly to the 
matter of position will not master muscular movement 
writing. 

(17) You can soon control your movement if you are 
determined, and will practice studiously and with daily 
regularity. 

(19) You should study the copy as well as the in¬ 
structions and suggestions critically to discover what 
is required to produce it. 

(19) Be content with nothing else than absolute 
knowledge of just what you must do to further improve 
each letter, word, and sentence. 

(20) Observation and care must be combined to 
make one a good penman. 

(21) Watch the thumb joint—if it wiggles you are 
introducing some finger movement. 

(22) Practice properly and you will have, few de¬ 
fects to criticise. 

(23) Muscular movement, forearm movement, and 
arm movement are synonymous terms and should be 
recognized as such, since the hand is propelled by the 
large muscles in the upper arm and shoulder, and in 
the same degree in each. 

(24) Arm movement writing is the method univer¬ 
sally used by rapid writers and taught by progressive 
teachers. By its use pupils can best acquire the essen¬ 
tials of practical handwriting—legibility, ease, and en¬ 
durance. 

(25) Always do your best whether practicing or 
not. This will improve one’s writing as nothing else 
will. 


6 


Penmanship Made Easy 


(26) When you have discovered an error that you 
have made, make an effort to correct it before going 
ahead. 

(27) No workman can do his best work with poor 
tools. 

(28) You should study and practice the writing les¬ 
son as diligently as you study and recite the other les¬ 
sons. 

(29) Always work for a lighter touch and better 
control of the pen. 

(30) Let.your movement be sufficiently rapid to give 
strength and smoothness to your writing. 

(31) Correct speed forces a light line and discour¬ 
ages excessive finger movement. 

(32) Correct position of the body, arms, hand, pen, 
and paper is quite an important factor in learning to 
write a good hand. Give special attention to each 
part of the writing-machine. 


GENERAL DIRECTIONS 

A careful study of the General Directions and Sug¬ 
gestions will be necessary to get the full import of the 
instructions under each letter and figure, “How to 
Make and Teach It.” 

Counting: 

The Suggestive Counts for the beginning grades ap¬ 
pear first in the list under each capital, small letter, and 
number. 

A descriptive or instructional count is considered best 
for beginners. A numerical count is much better for 
the more advanced, as a higher rate of speed can be 
obtained. 

The dash between counts indicates no interruption in 
the count. A comma signifies a momentary pause in 



Penmanship Made Easy 


7 


the count merely for control of motion. The words to 
be accented are printed in capitals. 

The right rate of speed is as important as the right 
form. Therefore, it is better not to count at all than 
to count too slowly, or beyond the capacity of normal 
effort. However, any one who can make the letter 
with correct movement should be able to count for the 
letter in correct time. And with a little practice any 
one who can write the word with correct muscular 
movement should be able to name the letters in the 
word, giving each letter the correct time count. 

Study Essential: 

A critical study of each letter is necessary to get a 
vivid mental picture of its form. You must remember, 
too, that all written forms correspond to the movements 
that produce them. Therefore, a study of the form 
and movement should be made of each letter. While 
reading the instructions and suggestions under each 
letter, have a copy of a well-made letter placed in cor¬ 
rect writing position and with the dry pen swing over 
the form, noting with special care the point in ques¬ 
tion. Read but one sentence at a time and note ex¬ 
actly what is meant before passing. The suggestions 
and directions are much like the definitions in the dic¬ 
tionary inasmuch as they make poor reading matter. 
Trace each letter with the dry pen several hundred 
times, or as many times as is necessary in order to es¬ 
tablish the correct movement. This should be done 
with correct time count. Tracing of letter forms 
should be done before any actual pen practice of the 
letter under consideration or at any time in order to 
break up a faulty movement. 

Study each letter with the class until you are certain 
that they have visualized the form and movement be¬ 
fore you have them attempt to make it on paper. 


Penmanship Made Easy 


Correction: 

When you find a number of pupils making the same 
error, make it a class exercise, otherwise, give personal 
help. Only one error should be corrected at a time, 
and that should be done in language so explicit that 
there will be no danger of misunderstanding. 

Questioning: 

Lead pupils to see their faults by questioning them 
on specific points. 

Pupils above the fourth grade should be able to give 
intelligent answers to questions listed under each capi¬ 
tal and similar ones concerning the small letters and 
numerals, not perhaps strictly accurate in every in¬ 
stance, but subject to revision and correction by the 
teacher. 

“One thing at a time, and that done well/’ applies 
with special force in teaching penmanship. 

Reviews: 

You should spend the allotted time on penmanship 
regardless of whether you have paper on hand or not. 
A writing lesson without paper once every two weeks 
is strongly recommended. In these lessons you should 
make a thorough study of the letters in advance of your 
regular lesson by tracing, demonstrating, reading the 
description and suggestions, or having them read by 
the class, explaining, questioning, etc. And, too, oc¬ 
casionally the writing lesson should consist of a re¬ 
view lesson in spelling or language. In such reviews 
position of the body, arms, hand, pen, and paper need 
emphasis. Attention should be given the efficient ar¬ 
rangement of materials on the desk, such as books, 
tablets, etc. In other words, keep in mind the 
object of the review—correlation. Correct the papers 


Penmanship Made Easy 


in red ink, calling attention to errors and return to the 
pupils. Have them rewritten, if expedient. 

Incidental Teaching: 

“Incidental teaching is necessary to secure appli¬ 
cation and improvement.” 

Pupils in the grammar grades should be familiar with 
the following terms as they will be employed frequently 
in the presentation of the lesson: Direct, indirect, re¬ 
verse, right curve, left curve, under motion, over mo¬ 
tion, under curve, over curve, straight line, slanting 
straight line, push-pull, retraced push-pull, continuous 
push-pull, lateral swing, horizontal, double curve, com¬ 
pound curve, perpendicular, vertical, round, oval, cir¬ 
cle, parallel, points, angles, etc. Several lessons could 
be profitably spent in this way. 

# 

Adjusting Paper: 

Either the paper must be readjusted after the hand 
moves to the right a certain distance, or else the arm 
must change its base. Some penmanship teachers say 
move the paper, while others teach moving the arm. I 
think it best to strike a happy medium by making use 
of both methods. In writing a line of ordinary length 
it is generally agreed that either the paper or the arm 
should be adjusted three times. Of course the paper 
must be returned to its first position. Therefore, al¬ 
ternate in this way: Adjust the arm, move the paper, 
adjust the arm, move the paper. Don’t forget the or¬ 
der: First, the arm; second, the paper; third, the 
arm; fourth, the paper to its original position. 

Say “Move” as a signal to the class to move the arm 
and paper. The signal may be omitt.ed after the class 
has acquired the habit of shifting the arm and paper as 
instructed. 


2 


10 


Penmanship Made Easy 


GENERAL SUGGESTIONS 

I do not consider it worth while to classify these sug¬ 
gestions under their respective heads and in order of 
their importance, so I will set them down, giving each 
a number. 

A single perusal of these General Suggestions and 
Directions as well as the Helpful Suggestions and In¬ 
structions under each letter and number will not ex¬ 
haust their possibilities and usefulness. 

Capitals and Small Letters: 

(1) Letters, capital and small, beginning with the 
direct movement, may be practiced advantageously by 
alternating the retraced direct oval and the letter. 

(2) Letters, capital and small, beginning with the in¬ 
direct movement, may be practiced advantageously by 
alternating the retraced indirect oval and the letter. 

(3) Capital letters beginning with a straight line 
may be practiced advantageously by alternating the 
“push-pull” exercise and the letter. Count 1-2-3-4-5-6, 
for the retraced oval or “push-pull” and then give the 
count for the letter. A eount of one should intervene 
between the “push-pull” or retraced oval and the count 
for the letter. In other words, just enough time should 
be given to make the swing, and no more. 

(4) The “push-pull” exercise and the letter is sug¬ 
gested for letters in which the straight line predom¬ 
inates. 

(5) Much practice of the kind suggested under sug¬ 
gestions 1, 2, 3, and 4 is highly recommended, especially 
so if finger movement is being used to any extent. 

(6) The two-space movement drill—direct, indirect 
or push-pull, should be given at the beginning of every 
practice period in writing. 

(7) All the capitals and small letters should begin 


Penmanship Made Easy 


11 


with the pen in motion, and be made with a regular 
movement. 

(8) All the capitals and upper loop letters should be 
made between a half and three-fourths of a space in 
height. 

(9) The capitals J, Y, and Z, as well as the lower 
loop letters, should extend only half way to the line 
below. 

(10) The letters, large and small', should rest on the 
base line. 

(11) The letters should be made the same distance 
apart and a certain number on a line, so as to regulate 
size and spacing. 

(12) The letters should be made with a distinct, 
smooth line, and without extras in the way of flourishes 
and superfluous strokes. 

(13) The small letters beginning with an upward 
left curve should begin a trifle below the base line. 

(14) All the small letters beginning with a right 
curve should begin on the base line. 

(15) The upper loop letters and capitals are gener¬ 
ally classified as being two and one-half times the 
height of the minimum or short letters. 

(16) The upward strokes of letters are either right 
or left curves and most of the downward strokes, 
straight lines. 

(17) It is well to keep in mind that the position of 
the down strokes determines the slant of writing; there¬ 
fore, the straight down strokes are called slant strokes. 

(18) The length of the up strokes determines the 
spacing in writing; therefore, the up strokes are known 
as the space strokes. 

(19) Whether practicing the letters separately, in 
groups, or in words, the beginning and ending strokes 
should not be slighted or slurred, but finished properly. 


12 


Penmanship Made Easy 


SUGGESTIONS ON PENS, PENCILS, ETC. 
Pencils: 

See that pupils do not use pencils shorter than three 
inches. Pencils shorter than this encourage cramped 
finger writing. 

Pencils should be used sparingly. In other words, 
use pen and ink whenever convenient. Hard and 
short lead pencils are foes to good muscular movement 
writing. 

Pens: 

A new pen is coated with oil, and the oil must be 
removed before the ink will adhere. To clean the pen 
thoroughly, moisten it with water, saliva, or ink and 
rub well with a penwiper or blackboard eraser. 

Never use a fountain pen, a rather stiff pen, or a 
stub pen when practicing. 

As long as a pen makes a smooth line of reasonable 
thickness and does not scratch the paper, it can be 
said to be in a good condition. 

Penwipers: 

Penwipers prolong the life of pens. A penwiper 
made of cloth without lint should be used after each 
written lesson, or whenever the pen has been in use. 
It is not so much the quality of the pen as the care 
given it that determines its usefulness and service. 

Inkwells: 

The ink in inkwells evaporates very rapidly and a 
sediment gathers in the bottom of the well, if left open. 
In order to prevent evaporation and keep dust and 
other particles from the wells, they should be kept 
closed when not in use. 


Penmanship Made Easy 


13 


Taking Ink: 

In taking ink the pen should not come in contact with 
the bottom of the inkwell. Refrain from drawing the 
pen over the edge of inkwell in order to remove the sup¬ 
posedly surplus ink. 

Remove the pen from the ink rather slowly and de¬ 
liberately and just the right amount of ink will adhere 
to the pen. The eyelet of the pen should be covered 
with ink. Study the art of taking ink until every pupil 
can take a pen full and have confidence in its staying 
on the pen. 


HELPFUL SUGGESTIONS FOR TEACHERS 

(1) The correct writing of a spelling or other les¬ 
son is as valuable in many ways as the correct practice 
during the regular writing lesson. 

(2) You should review spelling and other written 
lessons as penmanship lessons. This gives the teacher 
an opportunity to assist pupils in applying muscular 
movement in all written work. 

(3) The spelling lesson should be preceded by an 
appropriate movement drill. 

(4) Before pronouncing each word in the spelling 
lesson, you should count 1-2-3-4-5-6 and have the pupils 
make either imaginary or genuine one-space retraced 
ovals or straight lines. 

(5) It should be understood that writing is not a 
subject unto itself. Fifteen or twenty minutes daily 
drill in muscular movement with no attention paid to 
it the rest of the day will not produce good writers. 

(6) As a rule pupils will give the teacher just the 
standard of work that she will accept. Therefore, it 
behooves the teacher to set before her pupils most care¬ 
ful writing and to accept from them no careless work. 



14 


Penmanship Made Easy 


(7) Do not make the mistake of lover-direction. 
Give instructions briefly and to the point. 

(8) Be sure your pupils know what you want them 
to do, then see that they do it. 

(9) All unnecessary articles should be removed from 
the desk before giving a lesson in which writing is done, 
and during unsupervised work of the pupils. 

(10) Examination questions and all other writing 
by the teacher should be written on the front board. 
Otherwise, the pupils may have to turn in their seats 
in order to see the writing. Remove the causes for poor 
writing whenever possible. 

(11) It is a good plan to have your pupils occasion¬ 
ally write from dictation short sentences on position, 
form, and movement. 

(12) Have pupils copy paragraphs from history and 
other subjects, once in a while, with pen and ink. 
While they are doing this go from desk to desk and 
give them any assistance that you find them in need of. 
Use compliment when it is deserved. Remember the 
old proverb that says: “You catch more flies with 
sugar than with salt.” 

(13) Learn to criticise by suggestion rather than by 
fault-finding. Personal criticism and suggestion given 
in a kindly way is not fault-finding, but instead very 
helpful. 

(14) An Honor List of the pupils using muscular 
movement and maintaining a healthful and efficient 
position at all times is an incentive for others to try. 

(15) Frequently have the best writer in the class 
write a short sentence and sign his name, then the 
others in turn until all have written the sentence. 
Compare these specimens from time to time and note 
results. 


Penmanship Made Easy 


15 


(16) A display of work well done, showing first 
specimens and present skill, creates emulation. 


BLACKBOARD WRITING 

(1) The “Handwriting on the wall” is one of the 
tests of teacher efficiency. Five to ten minutes’ daily 
practice will soon show a decided improvement in one’s 
blackboard writing. Try it. 

(2) No teacher is qualified to conduct a class exer¬ 
cise in writing, who is not prepared to make apt illus¬ 
trations of the letter under consideration upon the 
board. 

(3) Inspiration comes more from the act than the 
result. Therefore, in illustrating upon the board, the 
teacher should stand in a position which will enable the 
greatest number to see the work as it is being executed. 
One can do his best while writing on a line even with 
the eyes, but it serves the purpose of instruction better 
to write where it can be seen while it is being done, 
which is to either side of the body or above the head. 

(4) The teacher’s writing on the blackboard, as well 
as the writing she permits her pupils to place thereon, 
either credits or discredits the teacher’s ability, as the 
case may be. Good writing on the board by both 
teacher and pupils exerts a silent, but nevertheless po¬ 
tent, influence upon the entire class. 

(5) Train pupils to stand in the center of their al¬ 
lotted spaces. 

(6) The chalk should be held between the thumb 
and first two fingers so that it points towards the center 
of the hand. 

(7) In erasing, do not strike the board with the 
eraser, but place it gently, then rub with care. 



16 


Penmanship Made East 


(8) To clean the eraser, rub it on the edge of the 
trough and tap it lightly on the inside so no dust 
of any consequence will escape into the room. 

(9) Break the chalk in the middle before using it. 
After breaking the chalk it should not be broken again. 

(10) The chalk should be held at angles varying 
from twenty to forty degrees, and should be slightly 
turned in the hand every few strokes, thus preventing 
sharp corners, which make dull, flat lines. 

(11) The eraser, when not in use, should be held in 
the left hand, either at the side or behind the back. 

(12) Clean dirty boards by erasing up and down 
first, then across, from the top downward. 

(13) Cultivate the habit of writing as nearly as 
possible in the same way and at the same rate as you 
wish the pupils to write. 

(14) The front and middle board should be used by 
the teacher in the presentation of the writing lesson. 

(15) Have pupils stand directly facing the board and 
at nearly arm’s length. 

(16) Rule the lines by swaying the body from the 

left to the right, holding the chalk against the board 
while doing so. t 

(17) Draw lines to illustrate the size of your copy. 
Make these lines light in order not to “kill” the writing. 


LEFT-HAND WRITING 

Handwriting was devised for the use of the right 
hand, and not for the left. It is one of the few right- 
hand arts, consequently, the child should not be per¬ 
mitted to use his left hand in writing. There are, how¬ 
ever, a few exceptional instances where a pupil should 



Penmanship Made Easy 


17 


be allowed the right to do so. For instance, if the 
pupil is decidedly left-handed from nature and not 
merely left-handed by choice or accident. 

If a pupil writes quite well with his left hand, im¬ 
prove the writing of his left hand. But, however, if 
he writes poorly, change him, no matter how old, es¬ 
pecially so, if he maintains an unhealthful, uncouth, 
and inefficient position, holds his pen awkwardly and 
writes with his hand and pen above the line. How¬ 
ever, if he be obstinate and does not want to make the 
change, it is a question whether he should be required 
to do so. In this case he should be required to write 
as directed with his left hand. Make plain to him this 
fact: A pupil who writes with his left hand will be 
handicapped not only in school work, but throughout 
life. 

Give the left-handed pupil who intends to continue 
with the left hand definite instructions as to how to 
hold the pen and place the paper, and then see that he 
follows them to the letter. Be kind and considerate, 
but consistent with him and in nine cases out of ten, 
the pupil can be induced to make the change of his own 
accord. 

Body position and pen-holding are the same in 
writing with the left hand as the right- Position of the 
paper is just the reverse. The right-hand writer 
pushes his pen and pulls the paper, while the left-hand 
writer pulls his pen and pushes the paper. The paper 
must be placed almost directly in front of the body, 
near the middle of the desk, and should be turned or 
slanted so the ruled lines will be about parallel with an 
imaginary line running from the lower right to the up¬ 
per left corners of the desk. The penholder should 
point approximately over the left shoulder, near where 
the sleeve joins the coat. 


18 


Penmanship Made Easy 


Have pupils who are making the change from left to 
right do as much of their writing as possible on the 
blackboard with the right hand. Allow such to do all 
other writing with the left hand, but to practice with 
the right, until legible writing can be done with the 
right hand. 


PART II. 


THE CAPITAL A—HOW TO MAKE AND TEACH IT 

Make up your mind never to say, I can’t 

The pen must not touch the paper until the down¬ 
ward stroke is begun. Why? See that the pen is 
moving in a leftward and not in a direct downward 
direction in beginning A. The upward stroke in the 
oval is almost straight. Make a safety stop at the top. 
Why? Retrace the up stroke a short distance. The 
second down stroke curves slightly to the right at the 
base. The beginning point in A should be at the high¬ 
est part of the letter. The oval in A is not so rounding 
as the one in O. Guard against a loop where the sec¬ 
ond down stroke joins the oval part. This is done by 
making the up stroke rather straight, stopping the 
movement at the top and retracing the up stroke. A 
stop at the top will not prevent a loop if the up stroke 
is made with a left curve instead of a slanting straight 
line. Swing over the top of A with the dry pen several 
hundred times, if necessary, in order to establish the “A 
swing.” Make sure that the copy is properly placed 
for writing before tracing the letter. This is extremely 
important. 

Suggestive Counts: 

AROUND-up, down; AROUND, down (when ending 
the letter with an upward stroke another count should 
be added, especially in the first and second grades) ; 
AROUND-up, down-up; ROUND-up, down-under; 1- 
2,3; 1, 2. 

Time Count: 

45-60 a minute. 


20 


Penmanship Made Easy 


Timely Reminders: 

Begin leftward with the pen in motion. Make the 
necessary stop. Swing freely from letter to letter. Do 
your best at all times. Slant the up strokes. Retrace 
a short distance. Lift the pen while in motion. Re¬ 
member that a good, smooth line can never be secured 
with a snail-like movement. 

To the Teacher: 

Count softly but in a spirited manner. Ask the class 
to count in concert with you at times. You should find 

the General Directions and Suggestions helpful. Make 
good use of the “Timely Reminders.” 

Questions: 

How is A begun? Is the oval in A as rounding as 
the one in O? Is the up stroke a curve or straight line ? 
Is the letter closed at the top? How do you avoid a 
loop where the down stroke joins the oval part? How 
do you guard against beginning with an upward stroke? 
Should the pen be lifted while the hand is still in mo¬ 
tion? What part of A is the highest part? Do you 
slow down the movement in passing from A to A? 
How often should the paper be moved in writing a line? 
Does it make any material difference how the paper is 
placed? How many should be made on a line in your 
grade? See manual. How many A’s should be made 
in a minute? Do you make frequent comparisons? 
You should. Have you made a special study of the 
movement by means of the dry-pen practice? 

Words for Further Study and Practice of A: 

Ann, Annum, Albany, America, Allendale. Write 
each word separately a certain number of times. Write 
three to four lines of each of these words in a 
minute. Work for good, smooth lines. Give special 


Penmanship Made East 


21 


attention to the slight interruptions in the movement. 
Watch size, slant, and spacing. Joining the A to the 
small letters is recommended, but it does not follow that 
they must be so joined. It is well, however, to form 
regular habits, so either join the capitals ending with 
this particular stroke, or never join them. 

To the Teacher: 

Be sure that pupils are following instructions. It is 
not enough to tell—you should see that it is done. 
Make good use of the “Timely Reminders”; also the 
blackboard. Do not overlook the importance of sen¬ 
tence writing. Practice from the copies in your writ¬ 
ing manual; also dictate short sentences on position, 
form and movement. 


THE SMALL a—HOW TO MAKE AND TEACH IT 

Practice without study is practice thrown away 

Examine your position carefully, then test the move¬ 
ment on an appropriate exercise. Study closely the 
form of a, as it is the basis for the first part of d, g, and 
q. The a should, therefore, be reviewed as a prepara¬ 
tion to make these letters. The A and a are alike in 
form, but differ greatly in size. The a should be prac¬ 
ticed singly at first while studying its form. Begin 
leftward rather than downward. The oval in a is 
pointed at the top. The point where the three lines 
meet should be the highest part of the letter. Pull the 
straight down stroke directly towards the center of the 
body. Avoid a loop where the«straight down stroke 
joins the oval part by pausing slightly and retracing the 
up stroke a short distance. The a should be made in 
groups of two, three, and four. The connecting line 
should be slightly compounded and carried well to the 
right. The oval in a is more slanting than the one in 



22 


Penmanship Made Easy 


o. Be very careful to close the letter or it will take on 
the appearance of u. Try to make the letters the same 
distance apart. 

To the Teacher: 

Ask a number of appropriate questions. Counting 
is of no value unless it is done properly. Caution stu¬ 
dents against curving the connecting line too much. 

Suggestive Counts: 

Round-up-down-up ; curve-close-finish; round-up-un¬ 
der. The numerical count when made singly is 1-2, 
3, and when made four in a group, la, 2a, 3a, 4a; or 
1 and, 2 and, 3 and, 4 and; or 1-2, 1-2, etc.; or 1-2, 
3-4, 5-6, 7-8. 

Time Count: 

55-70 a minute. 

Words for Further Study and Practice of a: 

man, aim, main, name, annum. Without study and 
practice of the right kind, improvement will be very 
slow and uncertain. Work for regularity in move¬ 
ment, in spacing, in slant, and in size. Make the glides 
from letter to letter without hesitation. Use a speed 
that will allow you to write easily, and have care as to 
form. Do not leave the a open at the top. Make the 
last down stroke straight and see that it slants prop¬ 
erly. These word letter drills should be practiced 
rather extensively as they give added practice to the 
over curve and under curve letters. You get from 
your penmanship practice just what you put into it. 

To the Teacher: 

Count for the different words by naming the letters 
as rapidly as they should be written. See that every 
word finishes with an up stroke the height of minimum 


Penmanship Made Easy 


23 


or low letters. Practice sentence-writing. See that 
all hands are moving with the pens. Call attention to 
some of the common tendencies before having the pu¬ 
pils write each word. Remember that much time can 
be wasted by indifferent practice. 


THE CAPITAL B—HOW TO MAKE AND TEACH IT 

“Well begun is half done” 

Do not overlook the importance of maintaining a 
healthful and efficient position for writing. Begin B 
at nearly the height of the letter. Pull the straight 
stroke directly toward the center of the body. Re¬ 
trace the down stroke to almost its full height and 
make two reverse oval pulls, stop and quickly add the 
final swing. Keep the oval parts well-rounded and 
about equal in size. The connecting loop is rather 
small and horizontal, but tipped upward slightly. Re¬ 
member, a complete stop must be made before making 
the final swing. The pen is lifted from the paper while 
under motion. Note carefully the slant of the two 
oval parts. A line just touching the oval parts on the 
outside should be the same in slant as the retraced 
part of the letter. This letter is a combination of the 
straight line and reverse oval movements. Therefore, 
these two movement drills should be practiced as a 
preparation to make the B. The B is an open letter 
at the base, you will note. Close observation is quite 
necessary to rapid progress. 

To the Teacher: 

Read again the General Directions and Suggestions. 
Suggestive Counts: 

Down, ROUND-ROUND, swing; down, ROLL-ROLL, 
swing; pull, ROLL-ROLL, swing, 1, 2-3, swing; 1, 2- 
3, 4. 



24 


Penmanship Made Easy 


Time Count: 

30-45 a minute. 

Timely Reminders: 

Practice thoughtfully and carefully. Remember, 
that thoughtless and indifferent practice is useless. 

Keep spacing between letters regular. Make the letter 
uniform in size every time. Keep the hand turned 
well over to the left. Be sure your movement is free 
and easy. Try to write better than yesterday. It 
must be in the head before it can possibly be put on 
paper. Do not bend or droop the shoulders. Try to 
associate thinking with all your practice. Care is de¬ 
manded of all who would succeed. 

Words for Further Study and Practice of B: 

Brain, Banner, Benton, Business, Bowman. Always 
work for a lighter touch and better control of the pen. 
The mind and muscle must be quickened through in¬ 
tensive and intelligent practice. “Ambitious pupils 
never court failure.” 

To the Teacher: 

Just before naming the letters in each word, you 
should call particular attention to some of the common 
tendencies, such as: Close the a, place the dot care¬ 
fully, make the final stroke with care. Keep the fore¬ 
going “Timely Reminders” well in mind. Sentence¬ 
writing is very helpful, so dictate several short sen¬ 
tences on position, form, and movement. 

Questions: 

In what direction should the pen be moving when it 
touches the paper? Is the B closed at the bottom? 
How many times is the movement slightly stopped in 
making B? In how many other letters is the angular 


Penmanship Made Easy 


25 


final stroke found? In what direction does the little 
loop seem to point? Does the letter begin and end 
with the pen in motion? Which oval part is the 
larger? Can you see a perfectly formed B in your 
mind’s eye? How many B’s should be made on a line 
in your grade? How many should be made in a min¬ 
ute? Are you painstaking in arranging your work? 
Do you know that to make progress you must follow 
instructions to the letter? Have you made a study of 
your position and penholding lately? 


THE SMALL b—HOW TO MAKE AND TEACH IT 

It must be done easily to be done well 

Observation and care must be combined to make one 
a good penman. The first stroke is a full right curve. 
Keep the crossing of lines low. The down stroke is 
comparatively straight and would be quite so if it 
were not for the turn‘at each end. The turn at the 
base is quite short. Stop the movement a little to the 
right of the crossing and on a level with it. The little 
retrace or shoulder of b is very important as it is the 
distinguishing feature between 1 and b. Make it show 
distinctly. Make b singly until the correct movement 
is well established, then by combining 2, 3, 4, and 
eventually 5. Keep margins even. Watch spacing 
between letters and between groups. The 1 should be 
reviewed as a preparation to make b. 

To the Teacher: 

Ask appropriate questions. 

Suggestive Counts: 

Curve-loop-up, finish; up-loop-up, swing; up-loop- 
up, dot-lift; 1-2, 3; or 1-2, 3-4, 5-6, 7-8, swing, for a 
group of four. 


3 



26 


Penmanship Made Easy 


Words for Further Study! and Practice of b: 

ebb, bill, babe, bobbin, bubble. Aim for freedom 
and control of your movement. Every earnest, 
thoughtful effort makes for improvement. Do your 
very best today. Make the necessary stops. Keep your 
mind upon the task at hand. Curve the up stroke well. 
Make the down strokes straight. Make a stop in every 
b. In writing these words do not forget that the letter 
you are striving to improve is b. Write from three to 
four lines of each of these words in a minute. Write 
each a certain number of times and a prescribed num¬ 
ber on a line. 

To the Teacher: * 

Name the letters as rapidly as they should be writ¬ 
ten. Remember that sentence-writing is very essential. 
Make every effort to develop freedom of movement 
among your pupils. Insist that your pupils hold their 
hands and pencils as illustrated in the manual. Every 
pupil should be required to have a penwiper. 


THE CAPITAL C—HOW TO MAKE AND TEACH IT 

“What is worth doing is worth doing well” 

See that the pen is moving in the direction for the 
beginning stroke. Note that C begins with a curve 
stroke, and not a straight downward stroke. The 
small oval extends downward to half the height of the 
letter. Observe 'closely that after the small oval is 
made the pen moves upward a slight distance before 
swinging to complete the letter. Swing well to the 
left of the small oval. Study the motion as you trace 
the letter with the dry pen. When doing this be quite 
sure the copy is placed in a correct writing position. 
A free rolling circular motion must be used in making 



Penmanship Made Easy 


27 


this letter. All the strokes are well-curved. The C 
rests on the blue line. Swing to about half the height 
of the letter and a little to the right of the beginning 
loop in ending. End the letter with a vanishing line. 
A vanishing line is made by lifting the pen from the 
paper lightly while under motion. C must be made 
quickly to be made well. Observe frequently that both 
points of the pen are touching the paper with equal 
weight. The force that propels the pen comes from 
above the elbow, not from below the wrist, as some 

a 

think. 

To the Teacher: 

The teacher who clearly appreciates the significance 
of the suggestions and directions given should have no 
difficulty in planning the penmanship lesson. Correct 
faults one by one. Train pupils to find and correct 
their errors. 

Suggestive Counts: 

Down-AROUND ; loop-up-ROUND ; loop-up-SWING; 
loop-SWING; swing-C; 1-2. The count for four C’s 
may be given as follows: 1-2, 3-4, 5-6, 7-8, or 1 
swing, 2 swing, 3 swing, 4 swing. 

Time Count: 

45-60 a minute. 

Timely Reminders: 

Watch position. Keep movement free. See that 
both points of the pen touch the paper with equal 
weight. The eye of the pen should face toward the 
top of the desk. Fill the eye of the pen with ink. 
Remove the pen from the ink rather slowly. Write 
with easy relaxed movement. Faithful practice is 
very necessary. Get the direction in which the pen 
must travel well fixed in mind. 


28 


Penmanship Made Easy 


Questions: 

The first stroke in C is made in what direction? In 
what direction should the pen be moving when it is 
lifted from the paper? How far does the small oval 
extend downward? What part of C is the tallest? 
Do you lift the pen from the paper while it is still under 
motion? Do you strike the letter in the direction of 
the first stroke with the pen on the move? Can C 
be made slowly and be made well? Have you studied 
the movement t$> make the C by swinging the dry pen 
over C while it was correctly placed in a writing posi¬ 
tion? Have you a correct mental picture of the letter 
in your blind’s eye? 

Words for Further Study and Practice of C: 

Came, Cone, Common, Cannon, Clara, Conner. Work 
for a good quality of line. Practice thoughtfully and 
carefully. Make the necessary stops. Do not lift the 
pen in writing words beginning with C. A slight stop 
is made in the movement, however, just before writing 
a and o. Keep the “Timely Reminders” well in mind. 
Make positive distinction between turns and angles. 
See that the ending strokes are not slighted. Write 
three to four lines of each of these words in a minute. 


THE SMALL c—HOW TO MAKE AND TEACH IT 

“Practice makes perfect, if it be perfect practice” 

Make the dot in the top of c distinct, so that the let¬ 
ter will not look like i. A slight stop in the movement 
is necessary to steady the hand and get control. The 
connecting stroke is very slightly retraced by the down¬ 
ward stroke. The down stroke is curved but very lit¬ 
tle. The turn at the base line is rather narrow. Do 
not lift the pen in making c. It will be necessary to 



Penmanship Made East 


29 


watch the movement very closely in making this letter. 
Therefore, make a critical study of it. Bear in mind 
that the down stroke in c is on the same slant as the 
down stroke in e. Keep in mind the direction in which 
you wish the pen to travel. 

Suggestive Counts: 

Dot, down-under; dot, down-up; 1-2. In groups, 
1—2, 1-2, 1-2, accenting the one count; or 1-2, 3-4, 
etc., putting emphasis on the odd numbers; or dot 1, 
dot 2, dot 3, dot 4; or 1 swing, 2 swing, 3 swing, 4 
swing. 

Time Count: 

55—70 a minute. 

Timely Reminders: 

Maintain a healthful position. Be thorough in 
every detail. Practice studiously if you would im¬ 
prove. The fleshy part of the hand should not touch 
the desk. Keep your hand gliding along easily. 
Study, criticise, and correct. Always know what you 
are trying to improve when practicing. 

Words for Further Study and Practice of c: 

come, nice, comic, access, accuse. Have confidence 
in your ability to make the pen go where you will it to 
go. The quality of lines is as important as the shape 
of the letters. See that each letter stands out dis¬ 
tinctly. Uniformity of motion, close observation, and 
care should receive your attention. Write three to 
four lines of each of these words in a minute. Writing 
each of these words two minutes will be better practice 
than to write but one word ten minutes. Keep the c 
in mind while writing these words. 

To the Teacher: 

Whenever a slight pause or stop is to be made in the 


30 


Penmanship Made Easy 


movement it should be so indicated in naming the let¬ 
ter in which it occurs. When counting, remember it 
takes longer to make m than it does to make n, so count 
accordingly. Do not take up too much time in prac¬ 
ticing the letters singly. Suggestive questions should 
be asked to direct attention to certain faults. 


THE CAPITAL D—HOW TO MAKE AND TEACH IT 

Do the right thing over and over again 

Get the D well in mind before practicing it. Ob¬ 
serve closely just how the letter starts. The down¬ 
ward strokes in D and L are very much alike. Note 
with exactness the size and position of the two small 
loops in D. See clearly how the letter rests on the base 
line in two places. These two places of contact are 
known as the toe and heel of D. It is particularly in¬ 
teresting to note that O and D begin and end alike. The 
loop in the top is a little larger than the one at the 
base. Observe that the under side of the small loop 
at the top ties around the beginning point. Use wholly 
muscular movement in making this letter. You cannot 
get graceful lines if you use finger action. Swing the 
finish upward and lift the pen from the paper while 
the hand is moving. Get a good mental picture of this 
letter before trying to reproduce it on paper. The cor¬ 
rect movement is best developed by swinging over a 
well-formed D with the dry pen at a regular writing 
gait. A close study of the movement of this and all 
other letters must be made before you can possibly 
hope to make a good letter. Begin and end the letter 
with the pen in motion. 

Suggestive Counts: 

DOWN - over - up - swing; DOWN - loop - up - loop; 
DOWN-over-up-loop; START-over-swing; 1-2-3. 



Penmanship Made Easy 


31 


Time Count: 

35-50 a minute. 

Timely Reminders: 

Keep a healthful and efficient position. The D 
touches the base line twice. Finish the D like the O. 
Make the loop on the base line small. Strive to use a 
free, easy movement. A pen will do three or four 
times as much writing if cleaned often. Be painstak¬ 
ing, patient, and persevering. Use your eyes to super¬ 
vise the movement. Try to harness the uncontrolled 
movements. You should have free play of the entire 
arm. See that the hand and arm are in position to 
move freely. To practice with no object in view is 
simply a waste of time. What is your object? 

Questions: 

Where and how does the downward stroke begin? 
Is the loop at the base longer than it is wide? Is it 
fiat? Does it slant? How many compound curves 
in D ? What other letter begins and ends the same as 
D? What other capital letters rest on the base line 
like D? In what direction is the pen traveling when 
it is lifted from the paper? Is the lower loop larger 
than the upper loop? What part of the upper loop 
connects with the beginning point? What oval should 
be practiced as a preparation to make D? Do you 
have a picture of a well-formed D in your mind’s eye? 
Do you pause now and then to criticise and direct your 
movement in the right channels? Do you know that 
good writing is the result of critical observation and 
well-planned practice? Do you know that you will 
not learn to write a good hand by a hit-and-miss method 
of practice? 

Words for Further Study and Practice of D: 

Dine, Dimes, Dennis, Diana, Dunning. Watch spac- 


32 


Penmanship Made Easy 


ing between D and the first small letter. Space evenly 
between letters. Give special attention to beginning 
and ending strokes. Read the “Timely Reminders ; 
they should be helpful. Write with an even pressure 
on the pen. Watch each turn, angle, straight line, 
initial, and final stroke. You should write three to 
four lines of each of these words in a minute. 


THE SMALL d—HOW TO MAKE AND TEACH IT 

Study, criticise, and compare 

The d is a combination of a and t. Therefore, small 
a should be reviewed before practicing upon the d. 
You will do well to study this letter very carefully. 
Watch the slant of the a oval. Do not extend the up 
stroke to more than two-thirds the height of capitals 
and loop letters. Keep the a part closed and retrace 
the down stroke as far as the a part. When d appears 
at the end of a word it is all right to make a small loop 
and finish with a swing below the line. Some teachers 
prefer the loop-topped d, while others are averse to its 
use. I find very little objection to it being used as a 
terminating letter. See that the hand moves along 
easily with each forward movement of the pen. 

Suggestive Counts: 

Round-UP-straight-under; round-UP-down-up ; 1-2- 
3 when making singly. For four d’s in a group, 1-2, 
3-4, 5_6, 7-8; or 1-d, 2-d, 3-d, 4-d. 

Time Count: 

55-70 a minute. 

Words for Further Study and Practice of d: 

deed, indeed, deeded, added, ended. Write freely, 
watching size, slant, and spacing. Keep the d in mind 
while writing these words. Try to make some im- 



Penmanship Made Easy 


33 


provement. Write these words without raising the 
pen. Care is demanded of all who would make rapid 
improvement. 

To the Teacher: 

For class drill name the letters in each word, giving 
ample time for the pupils to make each letter care¬ 
fully. Each word should be taken up separately, and 
it should be written at a rate of about three lines a 
minute. Counting must be done with intelligence and 
feeling. Unless mechanical conditions are correct, you 
need not look for excellence. Strive to maintain cor¬ 
rect writing habits. Give special attention to each 
part of the writing-machine. 

THE CAPITAL E—HOW TO MAKE AND TEACH IT 

“Knowledge applied is true worth” 

Begin the E with a very small loop or dot, then pull 
the pen to the left and down, forming a small loop 
about two-thirds the height of the letter and finish the 
same as the C. This letter, you will observe, is made 
entirely of curves. Much care should be taken so as 
to avoid the least appearance of angularity. Both 
oval parts should, therefore, be very rounding and 
made freely with two easy, rolling direct oval pulls. 
Study carefully the movement for making E, before 
touching the pen to the paper. Pull the lower oval 
part farther to the left than the first. See that E rests 
on the blue line and is well-balanced. The small loop 
connecting the two oval parts should point slightly 
downward or rightward. See that you pull both oval 
parts leftward, and that the lower one is pulled well 
to the left of the upper one. Lift the pen lightly from 
the paper while it is still under motion. The best pos¬ 
sible way to establish the correct movement for any let- 



34 


Penmanship Made Easy 


ter is to trace the copy with the dry pen. The letter 
to be traced must be placed in a writing position else 
very little, if any, good will be derived. Your E’s 
should have an easy, rolling effect if position, move¬ 
ment and speed are correct. The E must be made 
rather quickly to be made well. Know what is re¬ 
quired, then practice accordingly. Occasionally read 
the General Suggestions, etc. 

Suggestive Counts: 

Dot-round-ROUND ; dot-circle-CIRCLE ; dot-r o 11- 
ROLL; dot-pull-PULL (to make E with a small begin¬ 
ning loop, change “dot” to “loop”) ; 1-2-3. 

Time Count: 

35-50 a minute. 

Questions: 

How do the two direct oval parts in E compare in 
size? Name the location of the small loop. In what 
direction does this loop seem to point? In what di¬ 
rection should the pen be moving when the letter is 
finished? Why must the E be made rather quickly? 
What two ways may the E be started ? Answer: With 
a dot or small loop. Try both ways, then use the one 
you find the easier. Which oval part is the larger? 
Is the hand in motion when the letter is completed? 
How is a vanishing line made? Where does the move¬ 
ment come from that propels the pen? Do you have 
a correct mental picture of the letter? Do you realize 
that you can waste a lot of valuable time practicing a 
poorly visualized letter form? Do you permit the 
hand to turn over on its side as it moves across the 
page? Do you follow suggestions and instructions 
closely? 


Penmanship Made Easy 


35 


Timely Reminders: 

Begin with a small loop or dot. Make E with two 
circular impulses. Do not allow the hand to fall over 
on its side. A good, smooth line can never be secured 
with a slow movement. Make sure that you have 
nothing binding about the right arm- Center your at¬ 
tention on some one thing you want to improve. Do 
not continue making the same mistakes. Let care be 
your motto. The eye needs training as well as the 
hand. Keep the loop in the middle small and pointed 
downward. Lift the pen lightly from the paper as 
you end the letter. Swing freely from letter to letter. 
Carry the pen lightly, resting upon the tips of the third 
and fourth fingers. 

Words for Further Study and Practice on E: 

End, Erie, Ennis, Emma, Easton. The E described 
above should always be joined to the small letter. The 
E that is made with a downward final stroke is never 
joined. Pay special attention to the necessary stops 
in writing the words. Also observe size, slant, and 
spacing. 

To the Teacher: 

A good plan to follow in practicing words is to name 
the letters in the words as rapidly as they should 
be written the first minute, then have the pupils write 
the word at the same rate while you give personal help 
to the ones who need it. Make good use of the “Timely 
Reminders.” It is a good plan to have your pupils 
occasionally write from dictation short sentences on 
the description of capitals, small letters, and figures. 
Be sure your pupils know what you want them to do, 
then see that they do it. Do not make the mistake 
of over-direction. Give instructions briefly and to the 
point. 


36 


Penmanship Made East 


THE SMALL e—HOW TO MAKE AND TEACH IT 

“Mere -practice squanders time, ink, pens, and paper” 

The first and the last strokes in e are right curves. 
The second or down stroke is rather straight. It would 
be entirely so, if it were not for the two nicely rounded 
turns at the top and bottom. The crossing of the first 
and down strokes is at about half the height of the 
letter. Carry the last stroke to its proper height and 
lift the pen from the paper while it is still under mo¬ 
tion. Start the motion before touching the pen to the 
paper. Study the movement required to give the be¬ 
ginning stroke the right curve. Curve this stroke well 
and you will be able to make the crossing at the right 
height. Begin rightward rather than directly up¬ 
ward. Do not make the turn on the base line too 
broad. Be sure to make a decided loop in every e. 
The small e should be practiced extensively as it is an 
exceptionally good letter to practice for establishing the 
proper ending stroke for a number of letters. Drive 
the pen; do not drag it. See that the hand moves to 
the right with each up stroke of the pen. 

Suggestive Counts: 

Up-loop-up; up-down-under; curve-loop-swing; up- 
down-up; loop-the-e; 1-2. When made in groups 
count one for each e as follows: al-2-3-4, or count 
for each up stroke counting, 1-2—3-4-5 for four e’s. 
Make rather close together. 

Time Count: 

100-125 a minute. 

Words for Further Study and Practice of e: 

see, need, esteem, receive, perceive. Always loop 
the e. Make a stop at the base of s before swinging to 
the next letter. Cross the t with a short, straight line. 


Penmanship Made Easy 


37 


Give particular attention to the beginning and ending 
strokes. Keep margins even, spacing between letters 
and groups regularly. 

To the Teacher: 

Dwell on the m just a little in naming it, as it takes 
a little more time to make it than it does the other 
letters. It also takes longer to make c than it does e, 
so your counting should be guided according to the 
exact time it takes to make each letter. Take up one 
defect at a time and dispose of it before taking up 
another. Ask pupils to select several of their best e’s 
and to mark them with a cross, then have them prac¬ 
tice again, striving to make even better letters than 
their best. 


THE CAPITAL F—HOW TO MAKE AND TEACH IT 

“Apply in your own handwriting” 

(1) The top line is almost straight. Make the first 
line and come to a stop. The down stroke is a com¬ 
pound curve and is made on the main slant. The F 
touches the base line directly under the beginning point. 
The second stop is made at the angle just before mak¬ 
ing the final swing. Cross the letter with a very short 
horizontal straight stroke at half the height of the 
letter. 

(2) The F may also be made by continuing the left 
curve and crossing the down stroke at half the height 
of the letter; finish with a very short downward stroke. 
This form of F can be made more rapidly as but one 
stop in the movement is required to make it. Study 
the letter very closely for a proper knowledge of form. 
See clearly just how far the letter extends to the left 
of the beginning point. Curve down stroke widely at 
the base line. 



38 


Penmanship Made Easy 


(3) The F may be made, too, with a beginning like Q 
and finished like the second form described. 

(4) The F may also be made in two parts, the first 
part like the first F without the straight beginning 
stroke, the second part is placed over the top of the 
first part. The capital cap is made last. Note care¬ 
fully its position and size. Study the suggestions on 
position, etc. 

I should recommend to you the style of capital F 
that is found in your manual. It may not be the best, 
but very likely it is the one you can make the best, 
since you have practiced it more; and, too, you are 
more or less familiar with its use. 

If, however, you like one of the styles other than the 
one in your manual, and wish to make a change, trace 
the new form with the dry pen over and over again, 
thinking capital F all the while. Make use of the new 
style in general written work. 

Suggestive Counts: 

(These counts are for the different forms and in 
order described.) (1) Over, down-stop-swing, cross; 1, 
2, 3, 4. (2) Over, down-loop-finish; 1, 2, 3. (3) Loop- 
round-loop, finish; 1-2, 3. (4) Curve-stop-swing, cross, 
loop-curve; 1-2, 3, 1-2. 

Time Count: 

(1) 30-45; (2) 35-50; (3) 40-55; (4) 25-40 a 
minute. 

Timely Reminders: 

Don’t forget to review the large movement drills 
for a little while at the beginning of your daily prac¬ 
tice. Before practicing the capital F, study the gen¬ 
eral appearance of the letter. Think direction pre¬ 
paratory to placing the pen to the paper. Pause 


Penmanship Made Easy 


39 


frequently to determine error, then practice to correct 

it. Hold the copy down close to your own writing, in 
order to see plainly wherein your writing varies from 
the copy relative to size, slant, spacing, etc. 

Questions: 

In what direction must the pen move to make the 
initial stroke? Also the second, third and fourth 
strokes? What is considered the best way to establish 
the correct movement for making a correct letter form? 
Do you know that quality of line shows very plainly the 
quality of effort put forth? Do you know that you 
should make a thorough study of the -movement for 
each letter before practicing upon it? Do you know 
that you should never make a careless or purposeless 
stroke? Do you know that writing is an acquired 
rather than a natural art? Do you know that you will 
never learn to write by a hit-and-miss method of prac¬ 
tice? 

Words for Further Study and Practice of F: 

Fine, Fame, Fannie, Famine, Fusion. Finish each 
word with care. The little check or straight stroke at 
the finish should be kept very small and close to the 
main down stroke. Do not try to make an impossible 
connection in joining F to the small letters. 

The first F readily joins to all of the small letters 
by extending the boat-like stroke. Cross the letter 
after writing the word, with a short horizontal 
stroke. The extension of the boat-like stroke in 
the last F forms a good connecting stroke for the 
small letter. The other two forms should never 
join as the upward stroke in either F is a left curve, 
and it crosses the main stroke too high to make a good 
connecting stroke. Do not get the small letters too 
far from the capital. Do not make the top of F too 


40 


Penmanship Made Easy 


long. Write from three to four lines of each of these 
words in a minute. 

To the Teacher: 

Spell the words as the pen forms the letters. Do 
not forget to mention the momentary stops and to 
regulate your counting accordingly. Make good use 
of the “Timely Reminders.’' 


THE SMALL f—HOW TO MAKE AND TEACH IT 

It’s the effort that counts rather than the practice 

The two-space push-pull exercise should be reviewed 
as a preparation to make f. The f has the longest 
straight line of any letter in the alphabet. The part 
above the line is like L and the part below the line is 
like the loop in q. Begin the letter on the base line 
with the pen in motion. Curve the first stroke well. 
Work for a good straight line in the down stroke. Keep 
the turns at top and bottom uniform and rounding by 
driving the pen around the ends rather rapidly. Ob¬ 
serve that the up stroke of the lower .loop should just 
meet the down stroke at the base line and not cross. 
Many awkward-looking f’s are due to the fault of 
crossing the line and forming a loop. A stop m the 
movement is made at this point in order to overcome 
this tendency. Therefore, see that a stop is made at 
The base line before passing to the next letter. Do not 
expect to make a good letter unless you make it as it 
should be made. Keep in mind that the force which 
propels the pen is located above the elbow and not be¬ 
low. See that the loops in f are not extended too far 
above and below the blue line so they will interfere 
with the writing on either the line above or below. 



Penmanship Made Easy 


41 


Suggestive Counts: 

Up-DOWN-up, under; up-DOWN-up, swing; curve- 
DOWN-up, finish; curve-STRAIGHT-up, swing; 1-2, 3. 
When made in groups of four, count: 1-2, 3-4, 5-6, 
7-8, 9, or up, under, finish. 

Time Count: 

45-60 a minute. 

Words for Further Study and Practice of f: 

fine, waffle, effect, differ, ruffian. In writing these 
words, remember that f is the letter to receive the 
most attention. The lines in f should cross at the 
height of the low small letters. Note that in every f 
there is an i; also an 1. Cover the upper loop to the 
crossing and the lower loop at the blue line, and you 
will see the i. Cover the lower loop and you will see 
the 1. Work on the f until you can see a perfectly 
formed i in it. Remember to pull all the down straight 
strokes toward the center of the body. Keep the end¬ 
ing stroke in mind and make it correctly. Keep the 
pen moving rather rapidly around the ends to insure 
round turns. Make the necessary stops in each word 
and write about three lines a minute. 


THE CAPITAL G—HOW TO MAKE AND TEACH IT 

Everybody admires good penmanship 

It is only by earnest and thoughtful practice that you 
can hope to improve. The G begins with a full right 
curve. A slanting straight line will not suffice. The 
crossing of lines forming the loop is at half the height 
of the letter. A full stop should be made at the angle, 
which is at two-thirds the height of the letter. The 
downward right curve stroke touches the baseline and 
extends to the left of the beginning stroke, where an¬ 
other angle occurs, and consequently another stop, be- 


4 



42 


Penmanship Made Easy 


fore adding the final swing. Lift the pen from the 
paper while under motion. Two stops must be made in 
order to make angles or points, instead of loops. Trace 
the letter with the dry pen, making the required stops 
as they should be made in actual writing. Remember 
that when you study instructions and suggestions and 
make application of them, you are certain to make 
rapid progress- Read again the beginning pages. 

Suggestive Counts: 

Up-loop, SWING, finish; curve-loop, SWING, swing; 
curve-up, BACK, swing; 1-2, 3, 4. 

Time Count: 

35-50 a minute. 

Questions: 

How must the initial stroke begin? At what height 
is the first point? Is G open at the base? How is the 
letter finished? How many stops must be made to 
make a good G? Why should the beginning stroke 
be well curved? Why must two stops be made in 
making G? Have you studied the movement by means 
of the dry-pen practice? Did you have the paper 
placed in the correct writing position? Where does 
the first stroke in G start? Is the top of G round or 
pointed? Why is the angular finish of this letter so 
highly recommended? What drill should be given as 
a preparation to make G? What, other letter has the 
same beginning stroke? What other letters have the 
same ending strokes? How do you avoid loops where 
angles occur in G? 

Timely Reminders: 

Improve some phase of your writing every day. 
Build habits of care, thoughtfulness and continued 
care. Always do your best whether practicing or not. 


Penmanship Made Easy 


43 


Make the two stops in writing G. Give the first stroke 
ample curve. Keep the arms located well on the desk. 
Cultivate muscle action as well as eye vision. Critically 
examine your work to discover your faults. Form and 
freedom are essential to good writing. Learn to 
criticise your own work as severely as you know how. 
Be thorough in every detail. Act good writing and it 
becomes a habit. 

Words for Further Study and Practice of G: 

Game, Genius, Gammon, Garner, Gunner. Join the 
small letters to the capital G. Make the necessary 
stops in writing the words. You cannot write muscu¬ 
lar movement successfully without giving special atten¬ 
tion to the stops required at certain points. Know 
where these stops are located and make a special effort 
to make them. Do not leave broad spaces between the 
words. Keep spacing between the words regular. 
Keep spacing between letters in the words uniform. 
Keep margins even. Do not allow yourself to become 
careless about how you practice. Get the hand to 
moving rhythmically and you will find that your writ¬ 
ing will have a better strength of line and be more 
uniform in slant, size, and spacing. 


THE SMALL g—HOW TO MAKE AND TEACH IT 

“Dispatch and care are not inconsistent” 

The g begins like a and ends like small j. The oval 
in g is the same in size as the oval in a. The letter is 
closed at the top. The loop in g is a combination of 
the straight line drill and the upward left curve. It 
is, therefore, suggested that you drill on the push-pull 
exercise to get in readiness to make g. The down 
stroke in g is a slanting straight line except for the , 
curve at the lower end of the loop. The up stroke is 



44 


Penmanship Made Easy 


a good left curve. It is better described by saying that 
it is an “arc of a perfect circle.” Make the loop short 
and well-rounded at the base. Remember that loop 
letters govern the slant of writing. Let the two lines 
forming the loop intersect at the blue line. 

Suggestive Counts: 

Round-up-DOWN-up ; round-up-DOWN-loop; curve- 
up-DOWN-loop; curve-close-DOWN-loop; a-round- 
DOWN-up; 1-2, loop; oval, LOOP; 1, 2. Count 1-2, 
3-4, 5-6, 7-8, for four g’s in a group, or 1-loop, 2-loop, 
3-loop, 4-loop. 

Time Count: 

50—65 a minute. 

Words for Further Study and Practice of g: 

egg, gage, game, gaining, lugging. Make rather 
short loops. Observe uniform spacing in the words. 
Make two momentary stops in making g, except in the 
beginning g. Swing the connecting stroke well to the 
right and you will have less difficulty in closing the g. 
Get the habit of finishing each letter and word with 
much care. See that the up stroke in g crosses the 
down stroke at the blue line- Look over your g’s to 
see whether the loops have been made on the proper 
slant. Keep in mind that loop letters govern slant. 
Criticise your writing in regard to appearance, strength 
of line, and letter formation. Write about three lines 
of each of these words in a minute. It is a good plan 
to change words frequently to retain interest. Do not 
overlook the fact that g is the letter to receive the most 
consideration today. 


THE CAPITAL H—HOW TO MAKE AND TEACH IT 

Focus attention on effort 

• Start the motion before touching the pen to the 
paper. Make sure that the pen is going to touch the 



Penmanship Made Easy 


45 


paper in the direction of the first stroke. Get the size 
,and position of the capital loop well fixed in mind. 
Observe closely the space between the small loop and 
the first main down stroke. In order to make this 
space show plainly, it will be necessary to swing to the 
right a short distance before passing downward. The 
down stroke is quite straight except for the well- 
rounded turn at the top. Make a decided stop at the 
base of the first down stroke. 

Swing freely to the second part of H and begin it 
with the pen under motion. The second part is begun 
with a left curve, but emerges into a slanting straight 
stroke. Observe closely the exact distance between 
the two parts. The motion is again stopped momen¬ 
tarily on the base line. This stop is very necessary 
stop as it guards against a loop at this point. The up 
stroke does, not retrace the down stroke; but, instead, 
it swings to the right of the up stroke and ties around 
the first part at half its height. Curve the final stroke 
and end it upward with the pen in motion- Think 
clearly and act carefully. The H should be made with 
considerable swing. See how gracefully the two.sides 
bend toward each other- The tendency is to curve the 
first part too much and to make the second part too 
straight. Try hard to form an angle at the base of the 
second part. Note the shape and size of the connecting 
loop. The two parts are supposed to be about the same 
height. 

Suggestive Counts: 

Down-over-DOWN, swing-DOWN, up-around; loop- 
DOWN, DOWN, loop; loop-PULL, swing-DOWN; 
around-swing; loop-PULL, DOWN, swing; 1-2, 3-4- 


46 


Penmanship Made Easy 


Time Count: 

30-45 a minute. 

Questions: 

How many stops are made in writing H? Are the 
two parts the same height? Are the down strokes 
made on the same slant? At what place does the 
small loop tie around the first part? In what direc¬ 
tion is the pen moving as the letter is finished ? Is the 
pen lifted from the paper while still in motion? About 
how many should be on a line in your grade? Do you 
make this letter too wide? Do you make it too nar¬ 
row? Get the space between the two parts well fixed 
in mind- How many should be made in a minute in 
your grade? Have you made the movement automatic 
by tracing the H with the dry pen? Are you quite 
sure that the paper was placed properly for writing? 
When tracing letters, do you make a special effort to 
begin the second part of H with the pen in motion and 
in a leftward direction, instead of straight downward? 
You will certainly improve your writing very much if 
you practice just as you should. 

Timely Reminders: 

Sit erect. Improve each effort. Strive for graceful¬ 
ness. Let nothing escape you; take it all in. Keep the 
right arm free and moving. Be bold, but not scrawly. 
Watch size, slant, and spacing. Make the letter with 
regular speed. Make the necessary stops. Always 
do your best. Hold the pen lightly. Strive to space 
evenly in and between each letter. All writing shows 
plainly how it was executed. Quit trifling, get down 
to earnest practice. Keep the hand moving with the 
pen. You should learn to do things right- See the 
letter as it is, and make it correctly. How does your 


Penmanship Made Easy 


47 


position at the present time compare with the illustra¬ 
tions in the front pages of your manual? 

Words for Further Study and Practice of H: 

Home, Harm, Howe, Haven, Hummer. Write from 
three to four lines of each of these words in a minute- 
Try to write the same size as the writing in your 
manual. Excellence in writing is the result of acquir¬ 
ing something definite with each effort. Always join 
the small letter to the capital H. Watch spacing be¬ 
tween the capital H and the small letters. 

To the Teacher: 

How often have you read the beginning pages? 
Note particularly the necessary stops and, when count¬ 
ing, indicate them. Improvement is more the result 
of critical observation and careful effort than careless 
and indifferent practice. Let the pupils know that you 
are expecting them to follow instructions to the letter. 

THE SMALL h—HOW TO MAKE AND TEACH IT 

Study and compare 

The 1 and n should be reviewed as a preparation to 
make the h, since the h is a combination of the loop and 
the last part of n. It will be necessary to pay attention 
to the well-curved beginning stroke, the straightness of 
the down stroke in the loop, the size of the n part, the 
down stroke in the n part, the two turns in the n part, 
and the finishing stroke. Aim to make the crossing of 
lines even with the n part. The two down strokes in 
h are on the same slant. Note the angle where the 
parts join. This letter turned upside down should 
make a well-formed y. Get the habit of making 
rather short loops. Keep the n part rather close to 
the loop. Make positive distinction between turns and 
angles. The h should be practiced singly for a little 



48 


Penmanship Made Easy 


while, then practiced in groups of 2, 3, 4, and 5. The 
common tendency is to sharpen the upper turn and to 
make the lower turn too rounding. In order to over¬ 
come this fault, it will be necessary to use the correct 
movement. Study the directions the pen must take 
while tracing the letter with the dry pen- The correct 
movement is best developed in this way. Be quite sure 
that the copy is properly placed in a writing position. 

To the Teacher: 

Practicing a letter singly, then in 2’s, 3’s, 4’s, and 5’s, 
helps to retain the interest of the class. The h made 
in groups is an exceptionally good drill, and you would 
do well to review it frequently. The h should also be 
practiced in words, so make good use of the list given 
below. 

Suggestive Counts: 

Up-loop-over-down-up; curve-loop-over-down-under; 
curve-straight-over-under; curve-pull-over-under; 1-2- 
3. Count 1-2, 3-4, 5-6, 7-8, for four h’s. 

Time Count: 

50-65 a minute. 

Words for Further Study and Practice of h: 

home, hill, hull, hulling, humming. Although the h 
is the letter under consideration, the other letters 
should not be neglected. Close the o. Make 1 and h 
the same height. Do not loop the i. Place the dot 
carefully. Close the g. Make close distinction be¬ 
tween turns and angles- Finish the words with proper 
ending strokes. 

To the Teacher: 

One or more of these, or similar suggestions, should 
be given after the word has been written on the board 


Penmanship Made Easy 


49 


by the teacher and before the class begins to write the 
word. See that you spell with sufficient speed to keep 
the pens moving correctly. It is not expected that you 
count continuously. Name the letters as they should 
be written for a few times, then look after the pupils 
who need help. Instruct the pupils to write the word 
a certain number of times, or for a' period of one or more 
minutes. 


THE CAPITAL I—HOW TO MAKE AND TEACH IT 

Form the habit of doing things well 

The movement is begun before the pen touches the 
paper. Observe where and in what direction the pen 
strikes the paper. Study this movement very closely 
and apply it to your practice. The top part of I is 
not so wide as the top part of J. Starting the first 
stroke in the wrong direction is the most common fault 
in making I and J. Keep the crossing of lines rather 
close to the blue line. The down stroke is curved up¬ 
ward considerably after passing to the left of the be¬ 
ginning stroke. See that capital I touches the base line 
and is well-balanced. Make a mental note of the 
exact height of the angle or point in I. A definite stop 
in the movement must be made before applying the 
final stroke. Study the movement by tracing the copy 
with the dry pen. In doing this, see that the paper is 
correctly placed for writing. Trace the I until the pen 
moves automatically in the desired direction. To 
break up the habit of making the beginning stroke in 
the wrong direction may take extensive dry-pen prac¬ 
tice, but it will be time well spent- Keep in mind that 
I cannot be made well if the movement is slow and un¬ 
certain. Making I’s is safer, but more difficult than the 
customary way of “making eyes.” 



50 


Penmanship Made Easy 


Suggestive Counts: 

Over-down, swing; up-down, swing; push-pull, 
swing; up-curve, swing (if I is to be made with a dot 
stop, change the “swing” count to “dot”) ; 1-2, 3- 

Time Count: 

35-50 a minute. 

Questions: 

In what direction should the pen be moving when it 
strikes the paper in making I? How and where does 
the first stroke begin? What other letter begins the 
same way? Is the first part of I as wide as the upper 
part of J? What does a perpendicular line drawn 
through the middle of the letter plainly show? Where 
does the down line cross the up stroke? How far to the 
left does the downward line extend? What must take 
place at the point? What kind of a line completes the 
letter? Is the letter finished with the pen under mo¬ 
tion? What is the height of I? Have you made the 
movement automatic by means of dry-pen practice? 
Do you know that it is not alone quantity of practice, 
but quality of practice that produces good handwrit¬ 
ing? Do you know that many tracings of the I may 
be necessary, if you have formed the habit of making 
the beginning stroke in the wrong direction? Do you 
know just where the pen makes the only stop in I? 
Can you answer these questions with exactness without 
the I in sight? If not, you arq not ready to practice it 
with pen and ink. Give more study to its form. Be 
able to see it as it really is. 

Timely Reminders: 

Watch the path of the pen, and try to control the 
movement. Over and over again in the right way 
makes for improvement. When you see an error, en- 


Penmanship Made Easy 


51 


deavor to correct it before going ahead. Begin below 
the line. Make the necessary stop. Use a push-pull 
movement with a little reverse action. Curve the be¬ 
ginning stroke in the right direction. Keep the I well- 
balanced. Learn to be quick and graceful. Start the 
motion before touching the pen to the paper. Sit 
healthfully and efficiently as a habit. Develop a light 
touch of the pen to the paper. Swing the pen freely. 
Hold the pen loosely- Relaxation is essential to free¬ 
dom and control. Do not lift the pen carelessly from 
the paper. Think motion before you try it out. Stop 
occasionally to compare your work with the copy. 

Words for Further Study and Practice of I: 

Inn, Inman, Inning, Irene, Iowa. Aim for enough 
freedom and control of your movement to enable you 
to join the I to the small letters in word-writing. Re¬ 
member instructions concerning size, slant, and spac¬ 
ing. Remember, too, that a few minutes of thoughtful 
practice is better than hours of thoughtless scribbling. 
Make the necessary stops. Write from three to four 
lines of each of these words in a minute. Do not write 
too compactly. Use good judgment in the number of 
words to* be written on a line. 

To the Teacher: 

In naming the letters for the class, take special care 
so as to give the letters requiring more time than others 
correct enunciation. For instance, it takes longer to 
write an m than n, g than n, w than o, r than e. You 
should indicate the time by prolonging the sound when 
naming the letters requiring more time in which to 
make them- Do not over-do emphasizing these letters, 
however, as this will have a tendency to cripple the 
movement. Remember sentence-writing is very essen¬ 
tial. 


52 


Penmanship Made East 


THE SMALL i—HOW TO MAKE AND TEACH IT 

Do your best today and it will soon become a habit 

Strike the beginning stroke with the pen in motion- 
The i contains, two right curves, a straight line, and a 
dot. The first and down strokes form an angle at the 
top. The first and last strokes are the same in curve 
and slant. The dot should be placed with precision. 
It should be made slightly above the letter and in line 
with the down stroke. Note the nicely rounded turn 
at the base. Lift the pen lightly from the paper while 
it is still under motion. Never loop the i or it may be 
mistaken for e. Do not curve the down stroke or it will 
resemble c. Make all the strokes with an even speed. 
Keep in mind that the initial and the final strokes are 
alike in slant and direction. This is quite true as the 
final stroke is also the beginning stroke in medial i’s, or 
in two i’s. 

Suggestive Counts: 

Up-down-up, dot; curve-straight-curve, dot; up-up, 
dot; 1-2-3, dot; under-down-under, dot; 1-2, dot. To 
count for a group of five, say al—2-3—4—5. Omit dots. 

Time Count: 

100-120 a minute. 

Connecting i’s is good practice, do considerable of it- 
It is well to begin by connecting two, then three, four, 
and five. Omit dotting the i’s when made in groups. 
See that the hand moves with the pen on each up 
stroke- Keep turns on the base line nicely rounded. 
Pull the down strokes directly towards the center of 
the body. Tip the hand to the left in order to keep 
the side of the hand from obstructing the movement. 

Words for Further Study and Practice of i: 

inn, sin, inning, mining, finis. The small i has sev¬ 
eral probable faults: Insufficient curve in the up 


Penmanship Made Easy 


53 


strokes, wrong slant in the down stroke, and carelessly 
placing the dot. Make close distinction between turns 
and angles. Watch spacing. Keep margins even. 
Words should be written a certain number of times on 
a line. The number varies with the grade and ability. 


THE CAPITAL J—HOW TO MAKE AND TEACH IT 

“Think correctly and the hand will act definitely ” 

Make the first stroke in J like the first stroke in I. 
The initial stroke is begun with the pen in motion from 
a little below the base line. Note particularly the cur¬ 
vature and position of the beginning stroke. This 
stroke is a vertical left curve. Observe closely how 
the initial and the last stroke intersect at the base 
line. Pay close attention to the slant of the beginning 
stroke- Special care should be given to rounding out 
the top and base of the letter. The long down straight 
stroke comes in for its share of attention. Remember 
that this is a straight line except for the turns at both 
ends. Pull it directly toward the center of the body on 
the same slant as all straight down strokes. The finish¬ 
ing stroke is an upward left curve. The pen is lifted 
from the paper without stopping the movement. Drive 
the arm freely out of the sleeve in beginning and end¬ 
ing J. The size of the two parts should be studied 
closely. The lower part should be half the width and 
two-thirds the length of the upper part. All practice 
should produce improvement, and it will, if it be the 
right kind of practice. “Practice makes perfect,” is 
all true enough, if it be perfect practice. If you just 
naturally make the beginning stroke on the wrong 
slant, trace the J several hundred times with the dry 



54 


Penmanship Made Easy 

pen, if necessary, in order to break up the habit. You 
must not overlook the importance of placing the copy 
to be traced in a proper writing position. Follow this 
rule : Make the correct movement automatic before 
doing any actual writing. 

Suggestive Counts: 

Over-DOWN-over; up-DOWN-up; curve-DOWN- 
loop; push-PULL-push; over-SLANT-over; curve- 
STRAIGHT-curve; 1-2-3. 

Time Count: 

35-50 a minute. 

Timely Reminders: 

Curve the beginning stroke of J. Keep the down 
stroke straight. Pull the down stroke directly toward 
the center of the body. Keep the crossing of lines 
near the base line- Begin slightly below the base line. 
Begin the letter with the pen in motion. Keep the parts 
well-proportioned. Keep the body from touching the 
desk- Hold the pen loosely, that is, with just enough 
tension to hold the pen in position. Study the instruc¬ 
tions. Make the letters a uniform distance apart. Do 
not bend the back or droop the shoulders. The head 
should not be inclined to either side. Thinking is one 
of the important thnigs for a pupil to do in penmanship 
practice. One reading of the beginning pages is not 
enough. 

Questions: 

What other letter begins the same as J? In what 
direction should the pen be moving as it touches the 
paper? Where does the pen touch the paper? What 
name is given to the first and last strokes? Where do 
the first and last strokes intersect? Have you observed 


Penmanship Made Easy 


55 


how all three strokes meet at the blue line? In what 
direction is the down stroke made? Is the pen lifted 
from the paper as the letter is finished? How many 
stops are made in making a group of five J’s? How 
many in a group of four? You should not stop the 
movement in swinging from J to J. Have you drilled 
extensively on the movement by means of the dry-pen 
practice? Do you know that if you continue to prac¬ 
tice in your own way, failure will meet you at every 
turn of the road? Can you answer these questions 
relative to form and movement without the aid of a 
'well-formed J? 

Words for Further Study and Practice of J: 

June, July, James, Julia, January. Do not space 
too widely between words. See how neat and com¬ 
pact you can make your page. Do not lift the pen be¬ 
tween the capital and small letters. Have confidence 
in your ability to make the pen go where you will it to 
go. Do not scatter your practice, but fill each line and 
page with your very best work. While practicing these 
words, remember that J is the letter under considera¬ 
tion ; however, the other letters should not be neglected. 
Practice these words at a rate of three to four lines a 
minute. Perfection may always be purchased by ap¬ 
plication of the right kind. 

THE SMALL j—HOW TO MAKE AND TEACH IT 

Let your watchword be improvement 

The j contains a left curve, an angle, a lower loop, 
and a dot as in i- The j serves as a basis for g, y, and 
p; therefore, it should be practiced sometimes as a 
preparation to make these letters. The height of j 
above the blue line is the same as that of u. Care must 
be used to cross the lower loop letters at the blue line. 



56 


Penmanship Made Easy 


Make the loop rather quickly, especially around the 
bottom. A check in the motion when rounding a turn 
results in a sharp point. Make sure that you pull the 
down stroke directly toward the center of the body. 
Dot the j with precision; that is, place it carefully 
where it belongs. Give special attention to the con¬ 
necting line between j’s. Make short loops and round 
them out well at the base. Do not make them too 
wide. 

Suggestive Counts: 

Up-down-loop, dot; up-down-up, dot; under-down- 
over, dot; curve-loop-up, dot; 1-2, dot. When made 
in groups of four, count: 1—2, 3—4, 5—6, 7—8, 1—2—3—4. 

% 

Time Count: 

35-50 a minute. 

Words for Further Study and Practice of j: 

join, jump, major, junior, jejune. Give special at¬ 
tention to the connecting stroke between j and the let¬ 
ter that follows. Do not finish the word with a care¬ 
less jerk. The lower loop letters should occupy only 
half the space between the blue lines. The j is the 
same height above the line as the low or minimum let¬ 
ters. In writing the word “join” check the movement 
before beginning the o. 

To the Teacher: 

Spell the words as slowly as they should be written. 
Call attention to the necessary stops before practicing 
upon the words. Be watchful of position, penholding, 
and movement. Use some of your spare time to im¬ 
prove your own writing. It will pay big dividends. 


Penmanship Made Easy 


57 


THE CAPITAL K—HOW TO MAKE AND TEACH IT 

Ability is usually recognized and rewarded 

The first part of K is exactly like the first part of H. 
Study the instructions for making this part on page 44. 
The second part starts the same as the second part of 
H and beginning of O, but the direction makes a change 
soon after into a leftward course. You will note, only 
by close observation, that K starts the same as O- The 
letter should first be practiced in parts; then, together. 
Note particularly how the small horizontal loop ties 
around the first part at half its height. The second 
part is made with a lateral swing from left to right. 
After the small loop is made the movement is pulled 
toward the elbow. Be sure to lift the pen while it is 
still under motion. There are two ways of ending this 
letter and both should be practiced. The one that 
ends below the line is somewhat easier and should be 
practiced first. The one that ends above the line 
is more practical and should be mastered. In making 
it either way, the pen is lifted from the paper while the 
hand is still moving. Be very careful not to make the 
turn on the base line too broad when making K above 
the line. When ending the letter below the line, work 
for a graceful swing to the right. See that you get 
two compound curves in the second part of K. Do 
not fail to practice according to correct rhythm. This 
not only makes your practice more enjoyable, but has¬ 
tens the time when you will be able to write well with¬ 
out conscious effort. 

Suggestive Counts: 

Down-over-DOWN, left-around-down; loop-DOWN, 
swing-loop-down; loop-DOWN, swing-finish; loop- 
DOWN, 2-3; 1-2, swing-finish; 1-2, 3-4. 


5 


58 


Penmanship Made Easy 


Time Count: 

30-45 a minute. 

Timely Reminders: 

In making K write with an easy relaxed movement. 
Make the necessary stop. Begin second part with a 
leftward swing. Connect the two parts at half the 
height of the letter- Swing freely from part to part 
and from letter to letter. Select your best letter and 
mark it with a cross (X) • Keep the hand in correct 
position. The eye of the pen should be in line with the 
forefinger. Compare frequently to make sure that you 
are making the letter as it should be made. Know what 
you are trying to improve. Keep the first part wide 
and rounding on top. Join the two parts with care. 
Trace the letter with the dry pen. This you will find 
a great help. Study the swing between the parts. 
From time to time read the General Suggestions. 

Words for Further Study and Practice of K: 

Know, Kine, Kenton, Kinney, Ku Klux Klan. Al¬ 
though joining the capital K to the small letters is 
highly recommended, it does not follow that they must 
be so joined. It is well to form regular habits, so 
either always join them to the capitals with the same 
finishing stroke as K, or never join them. And, too, 
this does not follow that they should not be practiced 
first with the downward stroke and made that way 
when followed by another capital. Before, writing 
these words read the “Timely Reminders” on K. 

Questions: 

What other letters have the same beginning stroke 
as K? The second part is begun like what other let¬ 
ters? How many comppund curves in K? Where 
does the small loop tie around the first part? Where 


Penmanship Made Easy 


59 


is the only stop made in this letter? What is the 
height of the second part? What is the height of the 
letter? How many should you make on a line? How 
many lines should be made in a minute? Is the second 
part begun with the pen on the move? What is the 
correct count for the letter K? Why is a comma 
placed between 2 and 3? Do you know that you will 
never make improvement worth while unless you lo¬ 
cate your errors and correct them? 


THE SMALL k—HOW TO MAKE AND TEACH IT 

Ever keep in mind what you wish to make 

Begin and end the k like h. The only difference be¬ 
tween the two letters is the little loop that connects to 
the n part of the k- The n part in k is a trifle smaller 
than it is in h. With the finger-tip cover the small loop 
in the n part of k and you will see a small h. To see 
this relation clearly, should make the practice of the 
letter easier. Keep the last down stroke parallel to 
the first down stroke. The small loop should be hori¬ 
zontal and closed. Between the two parts is an angle 
that calls for a very slight pause, . Be sure to start the 
second part with an over-motion stroke or left curve. 
The last part of k requires close study. Be very care¬ 
ful to make the cap or the extension of the n part dis¬ 
tinct enough so k will not look like h with a blunder. 
To make this point clear, the two letters should be 
practiced alternately. The most common fault in 
making this letter is to make the turn on the base line 
too rounding. Observe closely the slant of the last 
down stroke. After making the small loop, make a 
slight pause. If you find certain letters especially dif¬ 
ficult for you, these letters and words containing them 
should receive special attention. 



60 


Penmanship Made Easy 


Suggestive Counts: 

Up-down, around, down-up; curve-straight, over-un¬ 
der; up-loop, around, finish; 1—2, 3, 4. A count of 
three should be given, when made collectively, as fol¬ 
lows: 1, 2, 3 and repeating for each k. 

Time Count: 

35-50 a minute. 

Words for Further Study and Practice of k: 

Ink, link, think, knack, killing- Keep the wrist from 
touching the desk. See that the hand moves to the 
right with each up stroke of the pen. Be careful not 
to make the base of k too wide. Make the last part 
of k with much care. Keep the slant lines regular. 
Note the similarity between h and k after writing the 
word “think.” Cover the small loop in k with your 
finger-tip, and you will see a small h, if you have made 
a good k. Loop letters, remember, govern the slant in 
writing. Make all straight down strokes on the same 
slant. You will find two straight strokes in k. Ob¬ 
servation and care in practice will produce good writ¬ 
ing in time. 

To the Teacher: 

It takes longer to make k than the other letters in 
these words, so allow a little extra time in which to 
make it as you name the letters. Dictate short thoughts 
on writing, such as found in the “Timely Reminders.” 
There is not enough individual instruction given by 
some teachers. See that pupils observe closely. Make 
them see clearly the necessity of learning to write well. 


Penmanship Made Easy 


61 


THE CAPITAL L—HOW TO MAKE AND TEACH IT 

Allow no movement to escape and waste 

Get the direction of the first stroke fixed in mind. 
The first stroke is the lower part of a horizontal direct 
oval. The upper loop is half the length of the letter, 
the lower loop is long and narrow and rests on the 
base line- The L should first be practiced by swinging 
the final stroke below the base line. After the swing 
for L is quite well established, it should be practiced 
with the whole letter above the base line. To make 
this letter as well as all letters successfully, you should 
first study the letter critically in order to see clearly 
what there is to be done. You should then think defi¬ 
nitely and logically how to do it. After doing these 
things you should resolve to practice it with delibera¬ 
tion and courage until it is mastered. 

Suggestive Counts: 

Up-loop-loop-swing; swing-loop-swing; swing-loop- 
over; swing-2-swing; swing-swing-swing; 1-2-3. 

Time Count: 

35—50 a minute. 

Another style of L is made by beginning with a small 
loop. After making this loop pass to the left, bending 
the stroke well; then descend to the base line and finish 
exactly the same as the other style. If the two styles 
are given in your manual, practice both styles, but use 
the one you can make the better. 

Suggestive Counts: 

Loop-curve-loop-swing; loop-curve-swing; loop- 
curve-loop ; 1-2-3. 

Time Count: 

35-50 a minute. 


62 


Penmanship Made Easy 


Timely Reminders: 

Begin L with the pen in motion. End the letter with 
the pen in motion. Watch the slant of the first loop. 
See that the second loop rests on the base line. Make 
the second loop long and narrow. Never study and 
practice aimlessly. Know fully how as well as clearly 
what to practice- Be a student of little things. Ob¬ 
serve closely the things the indifferent student would 
call non-essential. Study to master instructions, as they 
are more important sometimes than the copy. Re¬ 
solve to get a good position habit and maintain it. Cul¬ 
tivate a light touch of the pen to the paper. The L 
is made with three well-controlled swings of the pen. 
These cautions and reminders apply to both styles of L. 

Questions: 

Where and how does the first stroke in L begin? 
What is the length of the upper loop? On what slant 
is this loop ? On what slant is the lower loop ? It has 
no slant. Where does the letter rest? What other 
letter takes the same ending stroke? How should this 
letter be first practiced? Why should the L with the 
drop swing be practiced first? How many L’s should 
be made on a line in your grade? How many should 
be made in a minute? How often should the paper be 
moved in writing a line? Do you sometimes watch the 
movement instead of the pen to make sure that the 
movement is correct? Do you know that it is impos¬ 
sible to get this knowledge by indiscriminate study and 
practice? Put into your practice a patient intensity 
of effort, and you will learn to write a good hand. 
Most of these questions apply to both styles of L. 

Words for Further Study and Practice of L: 

Lee, Laura, Louis, Lillian, Lanning. Read again at 
this time the “Timely Reminders” and make a special 


Penmanship Made Easy 


63 


effort to make application of them in practicing these 
words. Either swing the final stroke of L below the 
base line with a lateral swing, lifting the pen from the 
paper lightly, or write all of L above the line using the 
final stroke as a connecting line for the small letter fol¬ 
lowing. The latter is more practical, but requires a 
little more control. 

To the Teacher: 

Keep in mind the necessary stops in writing words 
requiring them. Sentence practice is very essential to 
progress. Dictate short sentences from the “Timely 
Reminders.” Give thoughts of instruction that you 
wish your pupils to follow. 


THE SMALL 1—HOW TO MAKE AND TEACH IT 

The picture on the mind guides the pen 

Begin the 1 on the base line with the pen under mo¬ 
tion. The beginning stroke must be curved consider¬ 
ably in order to get the loop on the correct slant and the 
crossing the right height. The down stroke is a 
straight stroke except for the turns at the top and bot¬ 
tom. Remember the instructions for making straight 
lines: Pull all down straight strokes directly toward 
the center of the body. The crossing of lines is made 
at the height of the low or minimum letters. The 1 
should be the same height as the capitals and other 
upper loop letters. Make all strokes with an even 
speed. Keep the turn on the base line nicely rounded, 
but not too round and wide. The 1 forms the basis for 
the other upper loop letters, b, h, k, and f. The 1 is an 
e grown tall. It is a good plan to review 1 as a prepar¬ 
ation to make the other upper loop letters. It is well 
to make a sufficient number on a line in order to keep 
from making the turns too wide between the Ts. 



64 


Penmanship Made Easy 


Suggestive Counts: 

Up-loop-up; up-straight-up; curve-straight-c u r v e; 
up-down-up; 1-2. Give this count for five l’s con¬ 
nected : al-2-3-4-5. From five to six groups should 

be made on a line. 

Time Count: 

100-125 a minute. 

Words for Further Study and Practice of I: 

Sell, lull, spill, allow, million. Bring the down stroke 
well to the blue line before starting to make the turn. 
Note that by covering the loops, you will see well- 
formed i’s. Work on this drill faithfully. In writing 
the words, the mind should be kept upon the letter 1, 
as it is the letter under consideration. The other let¬ 
ters should not be neglected, however. Emphasize 
curving the up strokes more and the down strokes less. 
Keep the hand tipped toward you well. See that the 
hand moves to the right with each up stroke of the pen. 
Write the words rather compactly. Do not make the 
turns on the base line too wide and rounding. 

To the Teacher: 

Keep reminding your pupils that, in order to learn 
to write with ease, it is necessary to study as well as to 
practice. Since sentence practice is needed to get 
practice in actual writing, dictate short sentences in 
which the 1 frequently occurs. 


THE CAPITAL M—HOW TO MAKE AND TEACH IT 

Ease of execution produces grace 

The first part of this letter is made the same as the 
first part of H. Make a decided stop at the base of the 
first down stroke. Note particularly that each part is 




Penmanship Made Easy 


65 


lower than the preceding part. Retrace the first two 
down strokes to half their height. The three down 
strokes should be made on the same slant- Study the 
movement required to make the tops of the different 
parts well-rounded. The final stroke drops below the 
base line. At least it should drop below the line until 
the movement for M is established. The spacing be¬ 
tween the different parts should be close enough to give 
the letter a compact and well-proportioned appearance. 

The M should be practiced also with the entire letter 
above the line. When making it this way watch care¬ 
fully the turn at the base of the last down stroke and 
make it rather narrow. It takes a little more control to 
make it this way; but it is more practical, since a stop in 
the movement is not required to connect the letter to the 
small letters in writing words beginning with M. Work 
easily and you will improve rapidly. Good forms and 
easy movement should be striven for at all times. To 
think clearly before acting is one of the fundamental 
laws of progress. Therefore, associate thinking with 
all your practice work and note improvement in your 
writing. 

Suggestive Counts: 

Down-over-DOWN, over-down-over-down; loop- 
DOWN, OVER-OVER-down (the word “up” should be 
added to the above counts when the letter is ended 
with an upward stroke) ; loop-down, 3-4; 1-2, 3-4. 

Time Count: 

30-45 a minute. 

Timely Reminders: 

Begin M with the capital loop. Keep the top round¬ 
ing. Stop the movement at the base of the first down 
stroke. Make the other two parts rather rapidly. 


66 


Penmanship Made Easy 


Keep the down strokes rather close together. Swing 
the final stroke downward, or swing the final stroke 
upward, as the case may be- Observe how the top of 
M slopes. Keep the movement free. Watch slant and 
spacing. Do your level best. Keep your pen swing¬ 
ing. Apply good motion to all your writing. Your 
speed should be rapid enough to produce clean-cut 
lines. Give each part of every letter its proper care. 

Questions: 

What other letters have the same beginning stroke 
as M? Where is the only stop made in M? How 
many parts to M? Are these parts all the same height? 
Do they graduate in size? Are all the down strokes 
on the same slant? Are all the turns uniform? Is 
the last down stroke a straight stroke? How many 
should be made in a minute? How many should be 
made on a line? Do you make a special effort to im¬ 
prove some phase of M every time you make it? Are 
you improving? If not, why not? What is the cor¬ 
rect count for M? Why is a comma placed between 
2 and 3? Do you know that much practice fails be¬ 
cause the right impulses are not sent out from the 
brain? 

Words for Further Study and Practice of M: 

Moon, Mamie, Miller, Manning, Maine. Ever keep 
in mind what you wish to make. Give due attention 
to your position and movement. Uniform spacing be¬ 
tween letters is quite necessary to neat work. Even 
margins help, too. Observe closely how the parts 
graduate in size. Write the words without raising the 
pen. Strike the letter with the pen in motion and end 
it with the pen in motion. Keep the hand tipped to¬ 
ward you well, so that the fleshy part of the hand does 
not interfere with the movement. Do not take too 


Penmanship Made Easy 


67 


much space to write the M- Write the words a cer¬ 
tain number of times on a line. This will help to 
regulate spacing. Write from three to four lines a 
minute. 

To the Teacher: 

Call attention to the stop made at the base of the 
first down stroke in M. Make special mention of the 
stops made in each word before writing it. Look for 
the good points in your pupils’ writing and make men¬ 
tion of them. The drills should first be practiced by 
you. 


THE SMALL m—HOW TO MAKE AND TEACH IT 

Attach much importance to little things 

Touch the pen to the paper as the pen moves upward 
from below the base line. The up strokes are left 
curves and the down strokes straight lines. The angles 
where the parts join must be sharp and distinct. The 
first two down strokes are very slightly retraced. The 
down strokes are made rather close together. See how 
well you can round out the top of this letter while using 
muscular movement. It is well to make special men¬ 
tion of the fact that there are three turns at the top of 
m and two angles and one turn at the bottom. No 
hesitation must be permitted in the making of one or 
more m’s. This letter should be practiced singly at 
first by means of the dry-pen practice. Connecting 
three or four m’s makes an excellent movement drill. 
When making them in groups, observe uniform spacing 
between each m- Strive to keep the tops even. Keep 
the goal-idea ever clear. Know definitely what you 
are trying to accomplish. Remember that every defect 
of conception will register a corresponding defect in 



68 


Penmanship Made Easy 


execution. Over and over and over again in the right 
way makes for mastery. 

Suggestive Counts: 

Over-over-over-under; 1—2-3-4 (up strokes) ; al- 
2-3; 1-2-3 (down strokes); count 1-2-3, 1-2-3, 1-2- 
3 for three m’s. 

Time Count: 

40-55 a minute. 

Words for Further Study and Practice of m: 

moon, mine, mummies, mammon, minimum. Cor¬ 
rect movement must be practiced until it becomes a 
fixed habit. The correct movement as applied in mak¬ 
ing m singly and in combination should also be put 
into practice in writing words. See that the fingers 
do not help form the letters. Use all muscular move¬ 
ment in writing these words. You will find it much 
easier to glide from letter to letter, if the side of the 
hand does not come in contact with the desk. Make 
sure that the eye of the pen is facing toward the edge 
of the desk opposite the writer. The penholder should 
be pointing somewhere between the shoulder and the 
elbow, preferably close to where the.coat sleeve joins 
the coat. See that the hand moves with each up stroke 
of the pen. Do not establish wrong habits by allowing 
yourself to practice them. Make close distinction be¬ 
tween turns and angles. 


THE CAPITAL N—HOW TO MAKE AND TEACH IT 

In the language of the day, “It is up to you ” 

There is no difference between the first part of N and 
the first part of M, K, and H. You will find instruc¬ 
tions for making this part on page 44. A full stop 
should be made at the base of the first part. Retrace 



Penmanship Made Easy 


69 


the down stroke about half its height. Make a posi¬ 
tive turn at the top of the second part. The second 
part should be made somewhat lower than the first 
part. The second part should be as high as the small 
beginning loop is low. The two down strokes are 
made on the same slant and rather close together. 
The final stroke drops below the base line and is 
curved gracefully by pulling the pen toward the right 
elbow after passing the blue line. The pen is lifted 
from the paper as the letter is finished. Make sure 
that you follow this suggestion: Fix in mind the move¬ 
ment of the pen before and after touching the pen to 
the paper. Try to make the required number on a 
line. Watch spacing between the down strokes in the 
letter as well as spacing between the letters. Swing 
freely from letter to letter. Be particular and it will 
not be long until your N’s will show a marked improve¬ 
ment. This letter, like the other capital letters with 
the same ending stroke, should be practiced with the 
final stroke swinging upward. It requires a little more 
control to make it this way, but it is a very practical N, 
as no break in the movement is necessary to connect 
the capital to the small letters in writing words. Care 
should be exercised to round out the top and make a 
nicely rounded turn at the base. 

Suggestive Counts: 

Down-over-DOWN, over-down; DOWN, over-down; 
loop-DOWN, over-down (the word “up” should be 
added to the above counts when N is to be made with 
a final up stroke). Start-1, 2; loop-DOWN, 3; 1-2, 3. 

Time Count: 

35-50 a minute. 

Timely Reminders: 

In making N stop the movement between the parts. 
Keep the top rounding. Retrace the down stroke 


70 


Penmanship Made Easy 


where the parts join. Watch spacing between the 
down strokes. Space evenly between the letters. The 
appearance of your page shows plainly the effort put 
forth. Strive for grace, accuracy, and smooth lines. 
Indifferent practice is a waste of time. Practice as 
though you really wanted to learn how to write well. 
See that the arm moves in and out of the sleeve. Carry 
the hand lightly. See that the arm moves freely in 
making the swing between N’s. Make a study of your 
movement. Watch it sometimes instead of your writ¬ 
ing. Remember, that mind and muscle are employed 
in writing. Do you find the General Suggestions help¬ 
ful? 

Questions: 

In making N, in what direction should the pen be 
moving as it first touches the paper? What part of 
the down stroke is retraced? How tall is the letter? 
How tall is the second part? Does the second down 
stroke slant the same as the first? Is the second down 
stroke straight or curved? Are the two turns at the 
top the same width. What must you do to avoid a 
point in the top ? What must you do to make a vanish¬ 
ing line? Do you always lift the pen lightly from the 
paper while in motion? Should the movement be 
stopped between letters? Do you practice with the 
idea of improving? Do you know that every letter 
should be criticised by the one who makes it? Do you 
keep the hand moving with the pen? Do you try to 
make the letters the same distance apart each time? 

Words for Further Study and Practice of N: 

Name, Nine, Nellie, Norman, Newman. Write three 
to four lines of each of these words in a minute. Fin¬ 
ish final letters carefully- Straight down strokes slant 


Penmanship Made Easy 


71 


the same. Select your best written word and mark 
it with a cross (X). Keep the turns at the top of N 
quite rounding. Try to apply muscular movement to 
all your written work. Save some of your best work 
sometimes for future comparison. The loop letters 
show the slant of your writing. Avoid angles in the 
tops of n and m. Always loop the e. See that each 
letter stands out distinctly. Watch spacing. 

To the Teacher: 

Call attention to stops. Say the letters as they 
should be written, thus: Capital N-a-m-e. Dwell 
slightly on m as it takes one more over motion than it 
does to make n. Study the time elements in each word 
and indicate them when counting for the class. 


THE SMALL n—HOW TO MAKE AND TEACH IT 

Do not slight anything 

Strike the letter with the pen in motion from a little 
below the base line- The first and third strokes are 
left curves; the two down strokes, straight lines, and 
the ending stroke a right curve. Note particularly 
that n contains three turns and one angle. The width 
of n is the same as its height. Retrace the first down 
stroke just a little. Finish the letter upward, with the 
pen in motion. Practice this letter singly until the 
correct movement is developed. It should then be 
practiced by combining two, three, four, and event¬ 
ually five n’s. This letter makes a good movement^ 
drill. Work for a light, free movement of the hand 
and pen. Practice this letter freely. Learn to write 
smoothly and accurately. Make close distinction be¬ 
tween turns and angles. This drill gives the hand 
fine training in spacing and lateral movement of the 
arm. Before practicing upon any letter, see that the 



72 


Penmanship Made Easy 


action of the arm is unrestricted. Drive the pen 
through this exercise without checking the movement. 
Observe the final stroke, see that it ends upward. 

Suggestive Counts: 

Over-over-under; over-over-up ; a-1—2 ; 1—2—3 ; When 
making them in groups, count 1-2, 3-4, 5-6; or 1-2 for 
each n. 

Time Count: 

50-65 a minute. 

Words for Further Study and Practice of n: 

nine, union, none, cannon, inning. If you would im¬ 
prove rapidly, you must have daily practice. Curve 
the up strokes. Make the down strokes straight. 
Keep the down strokes rather close together. Pull the 
last down stroke to the base line before making the 
turn. Between the n’s there must be a round turn. 
Study the movement closely to make this short turn 
correctly. The turn at the base line and the turn at 
the top makes a slight compound curve in the connect¬ 
ing line- See that the wrist moves out of and into the 
sleeve. No hesitation must be permitted in making the 
n drill. Learn to round out the last part of .n well, as 
this section forms a part of several letters. Carry 
the hand lightly, resting upon the tips of the third and 
little fingers. Remember instructions concerning size, 
slant and spacing. Try to have the words occupy a 
uniform space on each succeeding line. Let CARE be 
your motto as you write. 


THE CAPITAL O—HOW TO MAKE AND TEACH IT 

Never allow yourself to scribble 

Mind and muscle must work together in learning to 
write well. You should never make a careless or pur- 



Penmanship Made Easy 


73 


poseless stroke. Think carefully just what every 
stroke in each letter produces. Think direction before 
trying to make the O- Before touching the pen to the 
paper, make sure that the pen is moving in the right 
direction. Start leftward rather than directly down¬ 
ward. The loop in the top should be made rather 
small and finished upward. Remember, start leftward 
and finish upward, with the pen in motion. Ease of 
execution should be your aim. Relaxation of muscle 
is essential. Pause to detect chief faults, then prac¬ 
tice to overcome them. Be systematic in your practice. 
Practice according to instructions and suggestions. 
This is very essential in the practice of handwriting; 
keep definitely in mind the direction the pen must 
travel. Maintain the oval shape; do not produce cir¬ 
cles. An oval is two-thirds as wide as high. The O 

is, therefore, two-thirds as wide as high. Study the 
letter form carefully before you begin to practice upon 

it. Think clearly, act with precision, practice intelli¬ 
gently, if you would improve rapidly. 

Suggestive Counts: 

AROUND-swing; left-round-loop; ROUND-O-swing; 
Capital-0; 1-2. 

Time Count: 

50-65 a minute. 

Timely Reminders: 

Start leftward. Begin with the pen in motion. End 
with the pen in motion. Keep sides equally rounding. 
Finish upward. Keep loop at top relatively small. 
Keep movement free. Do not scatter your practice. 
Avoid jerky movements. Swing from O to O without 
hesitation. Know definitely the movement required to 
make O. Make O three-fourths of a space high. 
Maintain a good position at all times. 


6 


74 


Penmanship Made Easy 


Questions: 

In what direction should the pen be moving as it 
strikes the paper? Should the pen be in motion when 
the letter is ended? Should the movement be checked 
in passing from O to O? What movement drill should 
be practiced first? What size is the loop at the top? 
What part of this loop ties around the beginning 
stroke? How often should the paper be moved in 
writing a line? Do you arrange your practice sys¬ 
tematically? Do you sit healthfully and efficiently as 
a habit? Do you hold the pen correctly? Do you 
keep the paper properly placed? Do you keep the 
body from touching the desk? Do you know that 
study, practice, and intelligent comparison are vital 
factors to rapid progress? Do you make good use of 
the gentle hints? 

Words for Further Study and Practice of O: 

One, Omen, Onion, Osmunn, Ole Olson. Do not 
make the space between O and the small letter greater 
than it is between the other letters. Study the direc¬ 
tion in which the pen is to move throughout each word 
before writing it. These words make fine exercise for 
ease and lightness of line. Make the required stops 
in writing- Remember, dwell on m slightly. Do not 
name the letters faster than they can be written well 
with muscular movement. Over and over again in the 
right way makes for improvement. 

To the Teacher: 

Call attention to common tendencies before writing 
each word, and do this in just as few words as possible. 
For instance: Always loop e; finish the word with 
care; watch spacing between O and n ; watch size of 
small letters; watch slant of the last down stroke in n. 
It is best not to name more than two of these sugges- 


Penmanship Made Easy 


75 


tions at a time. Make good use of the blackboard; also 
“Timely Reminders.” Do not forget that much time 
is wasted by indifferent practice. See that pupils are 
following instructions. 


THE SMALL o— HOW TO MAKE AND TEACH IT 

Be a merciless critic of your own results 

Practice systematically and never without thought, 
for thoughtless practice is a waste of time. Observe 
closely the direction the pen takes to make the o equally 
curved on both sides. The o is two-thirds as wide as 
high. The form of o is like O, but is finished differ¬ 
ently. A very slight pause at the top will help to 
close the letter and steady the hand for the final swing. 
The small o should be practiced in groups of two, three, 
four, and five, after a thorough study of the movement 
by means of the dry-pen practice. Remember, that a 
good, smooth line can never be secured with a slow 
movement, so in order to make good o’s, make the oval 
parts very quickly, make stops at the top, and use a 
swing motion between the letters. Observe how the con¬ 
necting lines are slightly curved. You should see that 
your position is such as to encourage and make possible 
muscular movement. Do not permit the hand to turn 
over to the right as it moves across the page. See that 
the penholder is pointing in the right direction. Both 
points of the pen should touch the paper with equal 
weight. The forefinger should be in line with the eye 
of the pen. Frequently review this and other small- 
letter drills which will be helpful to make your writing 
free and easy. Turn the paper the long way and prac¬ 
tice this and other small-letter drills by placing each 
letter in the middle of the space between lines. Cross- 
line practice is particularly good as a corrective meas- 



76 


Penmanship Made Easy 


ure for poor spacing. It is also good for control of 
movement and aids materially in writing straight with¬ 
out lines. Much of this kind of practice is recom¬ 
mended. 

Suggestive Counts: 

Round-o, swing; curve-dot, swing; round-stop, swing; 
1—2, up; small-o, finish; 1-2, 3. When five o’s are con¬ 
nected the count should be as follows: 1, 2—3, 4—5, 6- 
7, 8-9, 10; or 1, glide-2, glide-3, glide-4, glide-5, glide; 
or 1, swing-2, swing-3, swing-4, swing-5, swing. 

Time Count: 

50-65 a minute. 

Words for Further Study and Practice of o: 

soon, noon, moon, onion, follow. Curve the sides of 
the o equally and write with an even pressure on the 
pen- Each letter should receive its quota of attention, 
but keep in mind that o is the letter under considera¬ 
tion today. Shift the paper frequently. Lift the hand 
from the paper after writing each word. Relaxation 
is quite necessary. Use a firm writing movement and 
do not hesitate except to make the necessary stops. 
Watch the connecting lines to see that they are the 
same length. See that the hand moves freely with 
each forward stroke of the pen. Do not slight the end¬ 
ing strokes. Do not tip the head to either side, but 
look at your writing straight. The speed should be so 
regulated as to produce clean-cut lines with perfect 
ease. Keep the wrist and side of the hand from touch¬ 
ing the paper. Do not lean any of the weight of the 
body on the right arm. Make frequent reference to 
position until it becomes a habit with you to sit health¬ 
fully and efficiently. 


Penmanship Made Easy 


77 


THE CAPITAL P—HOW TO MAKE AND TEACH IT 

Penmen are made by study and practice 

The P is a combination of the push-pull and the in¬ 
direct oval movements. Therefore, these two drills 
should be reviewed as a preparation to make it. With 
the pen in motion, make a slanting straight line, stop 
the movement on the base line, retrace to nearly its full 
length and swing to the right with a reverse oval move¬ 
ment. Note particularly just where the finishing stroke 
crosses the retraced part of the letter. The pen is 
lifted from the paper while still in motion. Observe 
closely the direction the pen is moving as it is lifted 
from the paper. Think clearly, sit efficiently, practice 
faithfully, and you will in time write beautifully. 
Make a mental note of just how much higher the oval 
part is than the starting point. 

Suggestive Counts: 

Down, up-ROUND; straight, AROUND; down, 
SWING; 1, 2. 

Time Count: 

45-60 a minute. 

The P is also made by beginning with a right curve 
on or quite near the base line, forming an angle near 
the top, coming down under the up stroke with another 
right curve to the base line, throwing the reverse oval 
part over the angle, lifting the pen from the paper as 
it starts in the course of another oval. The letter 
readily adapts itself to an easy swing. Care must be 
taken to keep the space between the beginning stroke 
and the down stroke rather narrow. The common 
tendency is to get this space too wide at the base and 
then flatten the letter on the upper left side. Try to 
fill out the left side of the letter by rounding it out well. 


78 


Penmanship Made Easy 


The finishing stroke should cross at about two-thirds 
the height of the letter. 

Suggestive Counts: 

Curve-down-swing; up-down-a round; push-pull¬ 
swing; 1-2-3. 

Time Count: 

45-60 a minute. 

Timely Reminders: 

Keep the hand moving with the pen. Cramped 
movement makes cramped writing. A free and easy 
movement is very necessary. See that the wrist moves 
into and out of the sleeve. Write with an even pres¬ 
sure on the pen. Use both points of the pen. Keep 
the hand under control all the time- Swing from let¬ 
ter to letter without making a stop. Make all straight 
down strokes directly toward the center of the body. 
Keep the mind on the task at hand; do not permit it to 
wander. A rhythmic count will develop rhythmic mo¬ 
tion. 

Questions: 

In what direction is the pen moving when it strikes 
the paper? What other letters have the same begin¬ 
ning stroke? Is the movement stopped in making P? 
How far is the straight down stroke retraced? At 
what height does the final stroke cross the retraced 
part of the letter? In what direction is the pen mov¬ 
ing when the letter is ended? How many should be 
made on a line? How many should be made in a min¬ 
ute? 

Where and how does the beginning stroke of the sec¬ 
ond style of P begin? Name some of the points that 
should be kept in mind while making this P. Do you 

know that you should study, criticise, and correct to 



Penmanship Made Easy 


79 


improve rapidly? You should not forget that much 
practice fails because the right impulses are not sent 
out from the brain. 

Words for Further Study and Practice of P: 

Pens, Penman, Putnam, Panama, Pauline. Use 
either style of P you like, but it should be a habit with 
you to make but one style. Watch spacing between 
the P and the small letters. See that the loop in e is 
distinct. The s is a mite taller than the other mini¬ 
mum letters. Make the s sharp at the top. Pause at 
the base of s. See that n and m have rounding turns. 
Retrace t carefully. Cross t with a very short stroke- 
Close the a. Place dot over the i and in line with the 
down stroke. End each word as carefully as you be¬ 
gin it. Write with sufficient speed for smoothness. 

To the Teacher: 

The foregoing and similar suggestions should be 
made in presenting the words. Name the letters no 
faster than they can be written with muscular move¬ 
ment, but do not name the letters too slowly. A neces¬ 
sary preliminary is to determine approximately how 
many words should be written on a line. You should 
also know about how many words should be written in 
a minute. Read again the “Timely Reminders.” 


THE SMALL p—HOW TO MAKE AND TEACH IT 

No one ever learned to write by practice alone 

The first stroke in p is the same as the first stroke in 
t. The second or down stroke is a straight line extend¬ 
ing to about half the distance to the line below. This 
down stroke is retraced to a little above the base line. 
The small reverse oval part is made quite close to the 
first part or down stroke. A slight pause is made be- 



80 


Penmanship Made Easy 


fore ending the letter with an upward right stroke. 
Like t, the p should begin with a right curve or under 
motion and extend to the same height as t. Get the 
height of this letter well in mind. Pull the down stroke 
directly toward the center of the body. The p is also 
made by making a loop below the line instead of re¬ 
tracing- Make the loop below the line shorter than 
the loop in j. Avoid a hook where the finishing stroke 
retraces the oval part. Swing under, instead of over 
the oval part. Study the movement required to make 
this letter correctly by tracing it with the dry pen. 
Make them singly for a while at first, then in groups. 

. Suggestive Counts: 

Up-DOWN-up-oval, swing; up-DOWN-a r o u n d, 
swing; curve-down-loop, swing; 1-2, 3. When con¬ 
nected, 1-2, 3-4, 5-6, 7-8, 9 for four p’s; or swing 1, 
swing 2, swing 3, swing 4, swing. 

Time Count: 

45—60 a minute. 

Words for Further Study and Practice of p: 

up, upper, pump, pepper, applied. Some prefer the 
retraced style, while others favor the loop style. I 
find one style as easy to make as the other. I suggest 
that you use the style found in your manual. In writ¬ 
ing “up” make a full stop to close the p at the base 
line and finish with an upward right curve. By re¬ 
peating well-directed efforts, one learns to write a good 
hand. Always loop the e. Always stop before end¬ 
ing r. Place dot over i carefully. Keep the hand 
tipped toward you well so that the side of the hand does 
not touch the paper and interfere with the movement. 
See that the two points are running smoothly over the 
paper- Hold the pen lightly. Shift the paper with 


Penmanship Made Easy 


81 


the left hand. Work easily and you will improve 

rapidly. Watch beginning and ending strokes. 

To the Teacher: 

It is not enough to tell—you should see that it is 
done. Be sure that pupils are following instructions. 

Name one or two of the foregoing short suggestions 
before you count for the above words. 


THE CAPITAL Q—HOW TO MAKE AND TEACH IT 

“As the twig is bent, so is the tree inclined” 

The reverse oval should be practiced as a prepara¬ 
tion to make Q. The main part of the Q is much like the 
first part of M, N, H, W, and K. The down stroke 
in Q is a right curve. In other words, it is the right 
half of an indirect oval. The beginning loop should 
be rather small and the top rounding. The down 
stroke should be well-curved and pulled well to the 
left of the beginning loop. The horizontal loop 
which rests on the base line is long rather than wide 
and without slant. The finishing stroke is a compound 
curve and ends either below or above the base line. 
The letter is finished by lifting the pen from the paper 
while still under motion. Employ a small reverse oval 
movement for the beginning loop and a much larger re¬ 
verse oval movement for the main down stroke and a 
lateral compound swing for the finishing stroke. Go 
■over the form with the dry pen many times and study 
the movement required to make a good Q while doing 
so. Note particularly the position of the lower loop. 
It is without slant. Unless you make a special effort 
to locate and correct your errors, your letter forms will 
never get any better. The Q made entirely above the 
base line is more practical, as no pen-lifting is neces¬ 
sary in joining it to the small u. It requires just a 



82 


Penmanship Made Easy 


little more control to make it above the blue line; so, 
after the movement becomes more or less automatic, 
the letter should be thus practiced. 

Suggestive Counts: 

Down-over-DOWN-swing; loop-curve-DOWN-swing; 
loop-DOWN-over; loop-CURVE-swing. Loop-1-2; 1— 
2-3. 


Time Count: 

45-60 a minute. 

Timely Reminders: 

Sit healthfully as a habit. Control the movement 
after having cre'ated it. Be quick, but firm and sure. 
Do not wait for the teacher to find your mistakes. The 
eye of the pen should face toward the top of the page, 
thus bringing both points even on the paper. Writing 
to rhythm aids materially in securing ease. Keep the 
arm free and moving. Strive for grace, accuracy, and 
smooth lines. Be thorough in every detail. You 
should learn to write your name well. Let your arm 
ply in and out of the sleeve. Be definite and persever¬ 
ing. You get out of anything just what you put into 
it- The general information should be read frequently. 

Questions: 

Do you have in mind the course the pen must take 
to keep the top and down stroke rounding? What is 
the name of the curve at the base of the letter? What 
other letter ends the same way? How far to the left 
of the beginning loop should the horizontal loop ex¬ 
tend? What two movements are employed in making 
Q? How many Q’s are made in a minute? How 
many should be made on a line? What is a good 
count for Q. 


Penmanship Made Easy 


83 


Words for Further Study and Practice of Q: 

Queen, Quiet, Quinine, Quorum, Quincy. Curve the 
down stroke in Q all the way down. If you find that 
the connecting stroke between the Q and u is too diffi¬ 
cult, swing under the line and lift the pen, then quickly 
strike the u and continue writing the word, making the 
necessary pauses, if any. Finish the final t with a 
cross or with a short left curve. Dot the i with pre¬ 
cision. Watch spacing between the Q and the u. This 
spacing should not be wider than between the small 
letters. Give close attention to the final strokes. Al¬ 
ways loop the e. Round out the turns in n and m. See 
that each and every letter is distinct and well-formed. 
The quality of line is as worthy of your attention as the 
form of the letters. Make it your aim to advance in 
both form and freedom. Write from three to four lines 
of each of these words in a minute. 

To the Teacher: 

Regular speed should be maintained at all times. 
You should, therefore, know just how fast to name 
the letters. Time the count by the watch until the 
correct count is secured. Prepare your penmanship 
lesson before you call the class. 


THE SMALL q—HOW TO MAKE AND TEACH IT 

Be thorough. Laxity will mean failure 

The q is a combinaiton of a and the lower loop in f. 
Therefore, practice these two letters as a preparation 
to make q. Observe closely that the q loop is some¬ 
what shorter than the other loop letters, except p, when 
made with a loop. The distinguishing feature between 
the g and the q is the manner of making the loop. Turn 
to the right at the base of the lower loop, instead of to 
the left as in g, then curve the up stroke until it meets 



84 


Penmanship Made Easy 


the down stroke at the base line, and finish with a right 
curve. Come to a stop where the three lines meet be¬ 
fore ending the letter. The up stroke should not cross 
the down stroke, remember. Much care must be exer¬ 
cised for a time in making this letter. Little or nothing 
can be accomplished by careless practice. Close the 
q at the top. Make the loop short and rather narrow. 
Keep the loop on correct slant. Do not make the a 
part out of proportion to the rest of the letter. 

Suggestive Counts: 

Around-down-up, under; curve-close-loop, swing; 
round-up-down-up, swing; 1, 2, 3 for each q, repeating 
when made in combination. 

Time Count: 

35—50 a minute. 

Words for Further Study and Practice of q: 

queen, quell, equine, esquire, antique. Keep your 
mind on the form of the letter q while writing these 
words. Remember, a definite stop must be made on the 
base line before passing to the u. Make rather short 
loops. Close the q at the top. Keep spacing between 
words uniform. Space evenly between letters in the 
words. Keep the down strokes in u and n rather close 
together. Make positive distinction between turns and 
angles. Watch the movement as you write, see that it is 
free and easy. Keep the hand in correct position. Make 
sure the paper is placed properly for writing. Shift 
the paper so you will be writing in the “writing spot” 
at all times. Look at the writing straight. Keep the 
eyes from 10 to 15 inches from the line of writing. If 
you want to get your eyes closer you had better consult 
an oculist. Ever keep in mind that study is essential 
to progressive practice. Make use of the foregoing 
short suggestions. 


Penmanship Made Easy 


85 


To the Teacher: 

Dictate short sentences to the class. Insist that your 
pupils write as instructed. Appeal to your pupils’ 
pride; it will help. Praise them for doing good work. 


THE CAPITAL R-HOW TO MAKE AND TEACH IT 

“ Position , movement, speed and form are all matters of habit” 

The first part of R is like the first part of P. The 
same stop should be made at the base of the first down 
stroke. The down stroke should be retraced to the 
same height. The only difference between the two 
letters is the small loop and the ending stroke that is 
made the same as the last stroke in K- In other words, 
the R is a combination of P and the last stroke of K. 
The same instructions and suggestions as given under 
A, K, M, and N will apply to the ending of R. The 
small loop should tie around the retraced part of the 
letter at about half its height. Make every stroke 
count for improvement. You should not fail to trace 
this letter with the dry pen, over and over again, until 
the movement becomes somewhat automatic. Ob¬ 
serve space relations in letters and between letters. 
Do not lift the pen carelessly from the paper. Lead the 
pen in the course it should travel. 

Suggestive Counts: 

Down, around-swing; straight, up-loop-finish; down, 
up-around-down; 1, 2-3 for each R. 

Time Count: 

35-50 a minute. 

The R is also made by adding the final stroke in K 
to the second style of P, the same movement in P as 
in R being used, until where the K part is attached. 
Study directions for making this style under P on page 



86 


Penmanship Made Easy 


77. Trace this style with the dry pen until the move¬ 
ment becomes automatic and you will have very little, 
if any, trouble in making it correctly. 

Suggestive Counts: 

Curve-around-loop-down; curve-swing-over-loop-fin¬ 
ish; 1-2-3. 

Time Count: 

40-55 a minute. 

Timely Reminders: 

Anyone who can make the letter with correct move¬ 
ment should be able to count for the letter in correct 
time. Select either style of letter preferred. It is best 
that you practice the one you find the easier, or the one 
given in your manual, especially so, if you make it 
well- You cannot afford to write in so great a hurry 
that you do not do your best at all times. Remember 
that you should be very thoughtful concerning position, 
because it has to do with your health and writing. 
Questions: 

What two movement drills should be reviewed as a 
preparation to make R? The first part is exactly like 
what other letters? Is the first part wholly or partly 
retraced? What is the highest part of the letter? 
Where does the small loop tie around the retraced part 
of the letter? Is there a stop required in making this 
letter? If so, where located? What is the correct 
count for R? Do you know that much practice is 
wasted by indiscriminate practice? Do you know that 
if you are not interested in the practice of penmanship 
your writing will soon show it? Do you sit healthfully 
and efficiently as a habit? 

Words for Further Study and Practice of R: 

Rome, Racine, Remnant, Russell, Richmond. Do not 
forget to move the paper to the left and up when neces- 


Penmanship Made Easy 


87 


sary. Use your eyes. Be not easily satisfied. Write 
the same word over and over again. Write from three 
to four lines of each of these words in a minute. Try 
to write them the same size as the writing in your 
manual. Observe uniform margins. 

To the Teacher: 

Call attention to the stops in each word before having 
it written. Stop the class when a general correction is 
to be made. It is a good plan to write each word for 
a minute or two at a time. Sentence-writing is very es¬ 
sential to progress, so dictate short sentences on form, 
position and movement. 


THE SMALL r—HOW TO MAKE AND TEACH IT 

“Cultivate a little thought, a little care, and a little pride in all 
written work” 

Make a thorough study of the letter. Read but one 
sentence at a time, then refer to the letter for further 
consideration. In other words, get the purport of each 
sentence fixed in mind to stay before reading further. 
The initial stroke is a right curve and made with a full 
under motion, like the first stroke in s. The r and the 
s are a trifle higher than the other minimum or low 
letters- Observe closely the position and length of 
the tiny line that forms the shoulder of r. Check the 
movement to make this shoulder and stop the move¬ 
ment before making the rest of the letter. Pull the 
last part of the down stroke toward the center of the 
body and make a rather narrow turn on the base line. 
Now, for a rule that you should always keep in mind: 
Finish letters as carefully as you begin them. The 
down stroke with its back broken distinguishes the let¬ 
ter from i. Put into practice what you now know 



88 


Penmanship Made Easy 


about making r. Knowledge is very essential, but 
practice is what it takes to get the muscles under con¬ 
trol. 

Suggestive Counts: 

Curve-slow, down-up; curve-shoulder, down-curve; 
1-2, 3. 

Time Count: 

45-60 a minute. 

The r is also made by combining the first part of n 
or m and the finishing stroke of b, w, and v, with a 
straight up stroke that retraces the n part, and is re- 
taced a short distance by the finishing stroke. Observe 
closely that the up stroke extends to a very slight dis¬ 
tance above the n part and the up stroke is retraced at 
the top but very little. A stop must be made in the 
movement before adding the final stroke. This style 
of r is a favorite with some penmanship teachers and 
business writers, while others do not think it should be 
used on account of its close resemblance to v. If the 
letter is made correctly, it will not look like v. So 
many people, however, write carelessly that their r’s 
are sometimes taken for v’s. The people who favor 
the second style claim that the first style is sometimes 
taken for i made with a blunder. I suggest that you 
make either one style or the other and by no means use 
two styles of r in writing a word or composition. 

Suggestive Counts: 

Over-down-up, swing; curve-down-up, finish; 1—2, 3 
when made singly, and when made in combination, 
count: 1-2, 3-4, 5-6, 7-8, etc.; or two for each letter. 

Time Count: 

60-75 a minute. 


Penmanship Made Easy 


89 


Words for Further Study and Practice of r: 

err, roar, river, error, murmur. Use but one style of 
r in writing these words. Keep in mind the stops. 
Watch the connecting lines to see that they are the 
same length. Note particularly the line which runs 
from o to r. Watch the* movement required to write 
these words correctly while tracing them with the dry 
pen. Work for that little motion, or twist, in making r 
until it is acquired, and you will then have very little, 
if any, trouble with this seemingly difficult letter. Keep 
in mind the rule for making difficult letters easy. The 
rule is: More study and practice. 

To the Teacher: 

Caution students against neglecting to stop and re¬ 
trace the up stroke in making r. By questions, lead 
the pupils to see their errors. Aim to get each pupil 
to believe he can write as told. A good way to get con¬ 
centrated effort is to set a time limit. Tell the pupils 
they should be able to write a certain word 15 times, 
more or less, a minute. Then time them. 


THE CAPITAL S—HOW TO MAKE AND TEACH IT 

Perception, like other faculties, is developed through use 

All letter forms correspond to the movement that 
produces them. You will do well to give the move¬ 
ment required to make S and all other letters consider¬ 
able attention- The best way to learn correct move¬ 
ment is to place the copy in a writing position and trace 
the letter with the dry pen, studying as you do so the 
motions of the hand, arm, and pen. This letter begins 
with the pen in motion and in a horizontal direction. 
The beginning stroke of S is the same as the beginning 
stroke in G. The loop, too, is the same in size and 
slant. Keep the curve on the base line full and round- 


7 



90 


Penmanship Made Easy 


ing and see that the letter rests firmly on the base line. 
Have the lines cross at half their height. The S may 
be finished with a dot. Preference should be given 
the angular finish, as it supplies a connecting stroke for 
the letters that follow in writing a word. A stop in the 
movement should be made before swinging to complete 
the letter. Study closely the length and position of the 
final stroke. All the strokes in S curve. Lift the pen 
lightly from the paper as you end the letter. Do not 
overlook the beginning pages of this manual. 

Suggestive Counts: 

Curve-loop, swing; curve-down, swing; up-down, 
back; 1-2, 3; 1-2, swing. 

Time Count: 

40-55 a minute. 

Timely Reminders: 

Think ahead of the pen. Keep arm relaxed. Pause 
at times between letters to locate mistakes. Learn to 
visualize. Think the motion before trying it out. Be 
systematic in arranging work on the page. Keep the 
wrist raised and the side of the hand from touching 
the paper. Glide freely on the third and fourth fin¬ 
gers. Criticise your efforts. Glide easily and freely 
from letter to letter. 

Questions: 

The beginning stroke in S is found in what other 
letter?’ How tall is the letter? At what height is the 
loop crossing? At what height is the angle? Is it 
really necessary to make a definite stop before ending 
the letter? Can you see in your mind’s eye just how 
much curve is needed in all the different strokes? Do 
you know that self-criticism is necessary to rapid prog¬ 
ress? Do you know that much unnecessary effort is 


Penmanship Made Easy 


91 


expended and much paper wasted by practice follow¬ 
ing superficial observation? How many should be 
written on a line? How many should be made in a 
minute? Give the correct count. 

Words for Further Study and Practice of S: 

See, Sell, Spelling, Specimen, Summer. Write words 
beginning with S without raising the pen. Be careful 
in the formation of each letter. Give special atten¬ 
tion to size, slant, and spacing. Read again the “Timely 
Reminders.” 


THE SMALL s—HOW TO MAKE AND TEACH IT 

Only the best should be good enough 

Begin this letter with the pen in motion. The initial 
stroke is a right curve. Give this stroke ample curve. 
Observe closely the curvature of the down stroke. 
Come to a stop where the lines meet before adding the 
final swing. Avoid a loop at this place by swinging 
under instead of over the down stroke. Work easily 
and you will improve rapidly. Know exactly how be¬ 
fore touching the pen to the paper. Keep the s sharp 
on top and round at the base line. Good form and 
easy movement should be striven for at all times. The 
s is a shade taller than the other low or minimum let¬ 
ters, except r, which is the same height. 

Suggestive Counts: 

Curve-close, swing; up-under, up; under-pull, under; 
1-2, 3. For four in a group, count: 1-2, 3-4, 5-6, 
7-8, swing; or swing 1, swing 2, swing 3, swing 4, 
swing. 

Time Count: 

60—75 a minute. 



92 


Penmanship Made Easy 


Words for Further Study and Practice of s: 

saw, issues, senses, masses, missions. Make the up 
stroke in s a decided right curve and you will find it 
easier to get it sharp at the top. Make a slight pause 
in the movement before swinging to the next letter, as 
indicated by the comma in the count. Always loop 
the e. Finish w with a drop motion or curve. Round 
out the turns in n’s and m’s. Make close distinction 
between turns and angles. Close a at the top. Be 
systematic in your practice. Criticise your work from 
time to time. 

To the Teacher: 

The foregoing, as well as other suggestions, should 
be given just before naming the letters for the class. 
Aim at some definite point. Encourage pupils to think 
they are making progress. Ask appropriate questions 
on position, penholding, and movement. Have pupils 
write short sentences from dictation. 


THE CAPITAL T—HOW TO MAKE AND TEACH IT 

Train the, hand to obey the mind 

The T is made precisely the same as the first and last 
style of F described on page 37, minus the very short 
stroke which crosses the F at half its height. In view 
of this fact make use of the instructions and sugges¬ 
tions as given under F. The first style is more practi¬ 
cal since it is made without raising the pen from the 
paper. Review the F. 


THE SMALL t—HOW TO MAKE AND TEACH IT 

Find your errors and correct them 

Improvement depends upon practice rightly directed. 

Correct position, penholding, and movement should be 




Penmanship Made Easy 


93 


made habitual. Habits are most readily formed by 
concentration and repetition. The t is an extended i 
to again its height. The up line should be retraced to 
the height of i. To do this necessitates a well-curved 
initial stroke. The t is crossed with a very short hori¬ 
zontal straight line at two-thirds the height of the 
letter. Place this stroke where it belongs, not some¬ 
where in the vicinity. Improvement will undoubtedly 
follow intelligent and enthusiastic practice. It will do 
you no good to just “blaze away.” In short, think be¬ 
fore you act. 

Suggestive Counts: 

Up-down-up, cross; Curve-down-under, cross; 1-2, 
3. For a group of four, count: al-2-3-4, cross-1—2— 
3-4. 

Time Count: 

35—50 a minute. 

Words for Further Study and Practice of t: 

tin, time, mitten, mutton, taunt. Give a good curve 
to the beginning stroke. This suggestion applies to 
all the above words, and especially to the up stroke in 
t. Cross t’s and dot i’s with care. Never make a loop 
in the top of t. The final t is best finished with a short 
left curve or over motion; but keep it short, sharp at 
the top, and avoid spreading it at the base. Always 
loop the e. Close the a. Keep the down strokes in m, 
n, and u rather close together. Make close, sharp 
distinction between turns and angles. 

To the Teacher: 

Dwell on m as you name the letters. Attention 
should be called to the common tendencies in other let¬ 
ters, but you should remember that t is the letter under 
consideration for today. By questions, lead pupils to 


94 


Penmanship Made Easy 


see their faults and encourage them to correct them. 

Make application of the many suggestions given. Fol¬ 
low them up by added emphasis. 


THE CAPITAL U—HOW TO MAKE AND TEACH IT 

To correct a bad habit, substitute a good one 

The U is composed of the capital loop, turning at the 
base and joining a right curve, finishing with a down¬ 
ward stroke the same as A. Make the turn at the base 
of U round, and the angle sharp at the top of the sec¬ 
ond part. These are the features that distinguish U 
from N and on which the legibility of the letter de¬ 
pends. The first down stroke in U has a slight double 
curve, due to the turns at the top and bottom. The 
second part retraces the up stroke a short distance. 
The second part of the letter is two-thirds the height 
of the first part. In other words, the second part is as 
high as the beginning loop is low. The two down 
strokes should be made on the same slant and not too 
far apart. A slight stop in the movement should be 
made at the top of the second part Make a rather 
broad turn at the top of the first part and a nicely 
rounded turn at the base. 

A drop stroke finishes the letter very nicely for a 
single letter, but for combining with small letters, the 
final stroke should end upward. It should, therefore, 
be practiced both ways. Watch spacing between the 
different parts as well as the spacing between each 
letter. Watch the movement sometimes instead of the 
pen, to make sure that it is easy and regular. Get the 
habit of stopping at the top before making the second 
down stroke and avoid a loop where the two parts join. 
Remember to lift the pen from the paper while it is still 
in motion. Think of the beginning stroke of U, V, and 



Penmanship Made Easy 


95 


Y and a certain style of W as being made similar to a 
question mark (?). 

Suggestive Counts: 

Down-over-up, down; loop-down-up, down; loop- 
down-under, down; 1-2, 3; 1—2, drop; 1-2, down. 
(“Up” should be added to these counts when the letter 
is to be made with an upward stroke.) 

Time Count: 

35-50 a minute. 

Timely Reminders: 

Refrain from gripping the penholder. Strive to 
make tangible progress. In practicing, aim at some 
definite point. Keep the mind on the form you are 
working on. Dip the pen so the eyelet is covered with 
ink. Remove the pen very slowly from the inkwell. 
Make all strokes with an even speed. Improvement 
will come if you work 

Questions: 

Is the top of the first part well-rounded? What 
causes the slight double curve in the first down stroke? 
Is the turn at the base line as broad as the one at the 
top? What is the height of the second part? Where 
is the only stop made in this letter? Are the two down 
strokes made on the same slant? How far does the 
second down stroke retrace the up stroke? With 
what ending stroke should the letter first be practiced? 
How many should be made on a line? How many 
should be made in a minute? 

Words for Further Study and Practice of U: 

Union, Useless, Umpire, Ultimo, Utopian. Put the 

“Timely Reminders” into use while practicing these 
words. Connect the small letters to the capitals. 


96 


Penmanship Made Easy 


Make the required stops. Write from three to four 
lines of each of these words in a minute. 

To the Teacher: 

Call attention to crossing the t, dotting the i, looping 
the e, the height of 1 and t, the closing of o, the ending 
strokes, etc. Do not neglect sentence practice. Dic¬ 
tate short sentences from “Timely Reminders.” 

THE SMALL u—HOW TO MAKE AND TEACH IT 

Study and practice of the right kind is the secret of improvement 

The u is the letter i repeated. Therefore, the u con¬ 
tains three right curves, two straight lines, two points, 
and two turns. Begin the letter on the line with the 
pen in motion. Use close enough spacing between the 
down strokes so that the letter stands out distinctly. 
Note particularly that its width is the same as its 
height. The down strokes should be made on the same 
slant. The up strokes should be the same in curve 
and direction. See that the hand moves to the right 
with each up stroke of the pen. The hand should, 
therefore, move forward three times in writing u. In 
order to do this it will be necessary to keep the hand 
tipped toward you, so that the fleshy part of it does 
not interfere with the movement- First trace the u 
a number of times with the dry pen, and, while doing 
so, study the motion required to get enough curve in 
the up strokes. 

Suggestive Counts: 

Up-down-up-down-up; up-down-under-down-under; 
curve-1-2; 1-2-3. In counting for a group of four, 
say: 1-2, 3-4, 5-6, 7-8; or repeat 1-2, four times. 

Time Count: 

50-65 a minute. 



Penmanship Made East 


97 


Words for Further Study and Practice of u: 

nun, mum, sum, thumb, unusual. Write these words 
with the same easy movement as you did the u- drill. 
See that the distance between the down strokes in n 
and u is the same in each letter. Be sure to make the u 
pointed at the top and rounded at the base, and the n 
rounded at the top and pointed at the base. See that 
each letter is distinct and plain. Give special atten¬ 
tion to the beginning and ending strokes. Make a de¬ 
cided stop before swinging to the u in writing “sum.” 
Keep the s sharp on top. In naming the letters for this 
word, indicate this stop and say the m slowly. Before 
writing the word “thumb,” give directions similar to 
these: Curve the up stroke well; retrace the up stroke 
at the top. Place the cross carefully. The t is not so 
high as the h. Make close distinction between turns 
and angles. The h and b are the same height. Come 
to a stop before finishing the word- Write these words 
separately and at a rate of three to four lines in 
a minute. 

To the Teacher: 

Give only one or two of the foregoing directions at 
a time. Stop the class after writing for a minute or 
two, then give another suggestion or two. Sentence¬ 
writing is always a great help; so dictate short inspira¬ 
tional sentences. Make a study of the general infor¬ 
mation in Part One. 


THE CAPITAL V-HOW TO MAKE AND TEACH IT 

“Do well what you da do, 

That's the line to hew to.” 

The V is composed of the capital loop, turning at the 
base and finishing with a compound curve. Get well 



98 


Penmanship Made Easy 


in mind the size of the small loop, the rather broad 
turn at the top, and the slight double curve in the down 
stroke, the nicely rounded turn at the base, and the 
height and direction of the final stroke. You will not 
get anywhere in the practice of penmanship by just 
“blazing away,” right or wrong. You should remem¬ 
ber that all written forms correspond to the movement 
that produces them. Establish the correct movement 
by tracing the letter with the dry pen— five hundred or 
more times, if necessary. This style of V is made 
rather quickly as it is made entirely of curve strokes. 
Keep in mind that the final stroke is as high as the loop 
is low. Make a careful study of the swing required 
to make a graceful curve to the right. Lift the hand 
and pen from the paper lightly while they are still un¬ 
der motion. 

Suggestive Counts: 

Down-over-down-curve; loop-down-curve-up; 1-2-3. 
Time Count: 

35—50 a minute. 

The V is also made by stopping the movement of the 
upward stroke at about two-thirds the height of the 
letter, forming a blind loop or retracing the stroke 
slightly, finishing with a short horizontal swing to the 
right. 

Suggestive Counts: 

Loop-down-curve-up, swing; loop-down-up, swing; 
1-2, 3. 

Time Count: 

30-45 a minute. 

Timely Reminders: 

Always know what you are trying to improve when 
practicing. Muscular movement writing depends 


Penmanship Made Easy 


99 


largely upon a good position. A penwiper, made by 
sewing together two or three pieces of cloth without 
lint, is the most satisfactory kind, and such a wiper is 
inexpensive and durable. The eye needs training as 
well as the hand. Practice with considerable speed, 
but do not scribble. You will do well to observe every 
detail that makes for good writing. How does your 
position at the present time compare with the illustra¬ 
tions in the front pages of your manual? 

Questions: 

What other capital letters have the same beginning 
loop and double curve in the down stroke? What 
makes this double curve? Which of these two turns is 
the broader? Do you make the V too wide? Do you 
make it too narrow? What is the height of the final 
stroke? The pen is moving in what direction when 
the letter is finished? What must you do to get a 
vanishing line at the beginning and ending of a letter? 
How many V’s should be made in a minute in your 
grade? How many on a line? (These questions will 
apply to both styles of V.) 

Words for Further Study and Practice of V: 

Vine, Vera, Vivian, Vernon, Vassar. Move your 
arm freely in writing these words. Always loop the e. 
Make the a pointed at the top and close it. Make o 
more rounding than a. Close it at the top. Strive for 
correct spacing between and in words. Practice each 
word for a few lines before trying the next. Take 
pains with r and v Be careful in passing from one 
letter to another, to make the reaches regular. See 
that the hand moves forward with each upward or 
rightward stroke. 

To the Teacher: 

Read over again the “Timely Reminders.” Do not 

forget to mention the stops required in writing a word 


100 


Penmanship Made Easy 


before naming the letters. For further practice, dic¬ 
tate short sentences beginning with V. 


THE SMALL v—HOW TO MAKE AND TEACH IT 

Skill in writing is the product of intelligent energy 

The v is like the last section of n, m, and h, with a 
finish like w. Begin at the base line with a left curve, 
and make the letter rounded at the top and at the base. 
Retrace the top, forming almost a loop, and pass to the 
right with a right curve. A stop is required to finish 
this letter properly. Slant the second up stroke but 
very little. It is not necessary to make an extended 
study of the form of the v, as it is made by joining parts 
of two letters which have already been practiced. 

Suggestive Counts: 

Over-down-under, swing; over-under, dot-swing; 1- 
2, 3. When made in groups the count should be: 1- 

2, 3-4, 5-6, etc. 

Time Count: 

60-75 a minute. 

Words for Further Study and Practice of v: 

eve, view, vive, vivid, river. Care should be em¬ 
ployed whenever you have any writing to do. Keep 
spacing between letters uniform. Keep margins even, 
i.e., vertical. Use an easy graceful movement in all your 
writing. Remember to keep the hand slightly raised 
in order to write easily and freely. The pen should 
touch the paper lightly, with the hand nearly relaxed, 
and with just enough tension to hold and control the 
pen. Make positive distinction between turns and 
angles. Keep the paper properly placed. Move the 



Penmanship Made Easy 


101 


paper and arm. Make a study of what you are doing. 
Dictate short sentences, and see that muscular move¬ 
ment is being used in writing them. 

THE CAPITAL W—HOW TO MAKE AND TEACH IT 

“Keep your eyes and mind unde open” 

A critical study of W is necessary to get a vivid 
mental picture of its form. Do not make a mistake by 
practicing without first making a careful study of the 
form and movement of W. You should keep in mind 
that all written forms correspond to the movement that 
produces them. Begin W like M, but curve the down 
stroke more. Check the motion at the base of the first 
down stroke. Curve the first up stroke so that the 
space between the point and the top of the first part 
will have the same space as between the two points at 
the base of W. Make the point at the top a trifle 
higher than the first part of the letter. Keep the dis¬ 
tance between the parts in mind. All the lines curve 
—the first and last more than the other two. You 
should give particular attention to the slant of all the 
different strokes- The final stroke is but half the 
height of the letter. The W is a push-pull letter, that 
is, this movement predominates. The straight-line ex¬ 
ercise should, therefore, be reviewed as a preparation 
to make W. 

Suggestive Counts: 

Loop-over-DOWN, up-down-over; loop-DOWN, up- 
down-swing; 1-2, 3-4. 

Time Count: 

35-50 a minute. 

The W is also made somewhat like U with two turns 
on the base line and a finish exactly like the second 



102 


Penmanship Made Easy 


form of V described on page 98. Watch spacing be¬ 
tween the two parts. Do not make the letter too wide. 
This is much the easier letter made, and its popularity 
is growing steadily. Just add another section like the 
first section of Y, U, and V, and end with a finish like 
the one in b, w, v, and r, only considerably larger. 
Learn to make it. 

Suggestive Counts: 

Loop-DOWN-up-DOWN-up, swing; loop-1-2, finish; 
1-2-3, 4. 

Time Count: 

30-40 a minute. 

Timely Reminders: 

Try to see how neat and compact you can make your 
page. Swing freely from one letter to another. Trace 
the letter with the dry pen. Study, then practice. 
Your writing is a picture of the movement used. Criti¬ 
cise your efforts Interest is vital to progress. Keep 
slant and spacing regular. Strive to make some im¬ 
provement on every line attempted. 

Questions: 

Are you quite sure that you know the course the pen 
must take to start the beginning stroke in the right 
direction? Can you see in your mind’s eye just how 
much curve is required in the different strokes? How 
high is the middle part? What is the height of the 
final stroke? How many should be made on a line 
in your grade? How many should be made in a min¬ 
ute? How many stops are made in making W? 

{These questions will also apply to both forms of W.) 
Words for Further Study and Practice of W: 

Win, Wine, Winning, William, Willow. Watch 
spacing between words. Keep the letters in the words 


Penmanship Made Easy 


103 


a uniform distance apart. Do not even try to connect 
W to the small letters. 

To the Teacher: 

In counting for William, say: CAPITAL W, i-1- 
1-i-a-m, dot, dot, at a fair rate of speed. Make good 
use of the “Timely Reminders.” They should be help¬ 
ful. Dictate short sentences beginning with W for ad¬ 
ditional practice. Remember that practice of this 
nature is very essential. 


THE SMALL w—HOW TO MAKE AND TEACH IT 

“Joy always follows work well done” 

The w is a combination of the u and the finishing 
stroke of o, v, b, and r. The w is, therefore, made with 
four right curves and two straight strokes. When 
these strokes are made correctly, they form two angles 
and a little retrace at the top and two nicely rounded 
turns at the base. This dot or retrace is what distin¬ 
guishes the w from the u. Therefore, special attention 
should be given this part of the letter. Space rather 
closely between the parts so that the letter will have 
a compact appearance. Pause at the top of the last 
up stroke before swinging to complete the letter. Be¬ 
gin and end the letter with the pen in motion. Prac¬ 
tice w by combining two, then three, then four. This 
method of presenting a small letter gives the teacher 
an opportunity to make more general suggestions, such 
as: Use a light gliding motion in going from letter to 
letter. Stop the movement before making each glide- 
Form the little retrace or dot carefully. Pause slightly 
as you make the shoulder. Curve the connecting 
stroke but little. Keep the hand tipped toward the 
body. See that the hand does not touch the desk. 



104 


Penmanship Made Easy 


Keep the penholder pointing near where the sleeve 
joins the coat. See that the eyelet of the pen is facing 
the top of the desk, etc. 

Suggestive Counts: 

Under-under-under-swing; up-up-up, dot-swing; al— 
2, swing; 1-2-3, swing; 1-2-3, 4. For two w’s con¬ 
nected, count as follows: 1-2-3, 1-2-3, swing; or 1— 

2-dot, 1-2-dot, swing. 

Time Count: 

45-60 a minute. 

Words for Further Study and Practice of w: 

we, won, swim, winnow, winner. Write these words 
freely but strive for correct size, slant and spacing. 
Make the w rather quickly, but stop the movement be¬ 
fore you pass to the next letter. Make the down 
strokes in w rather close together and on the same 
slant. Give particular attention to the ending strokes. 
See that each letter stands out distinctly. Keep the 
finish in w high, but do not loop it- See that the arm 
moves with the pen on each up stroke. Careful study, 
you should remember, is as important as much practice. 

To the Teacher: 

Practice the sentence in your Writing Manual, then 
dictate appropriate sentences to the class on position, 
form and movement, and see that muscular movement 
is used in writing them. 


THE CAPITAL X—HOW TO MAKE AND TEACH IT 

Determine resolutely to expect what you desire 

You should be equally proficient in making the direct 
and indirect ovals. If you are, you will have but little 
trouble in making this letter. It requires considerable 



Penmanship Made Easy 


105 


care and control to get the two parts to just touch and 
not overlap. The two parts should be practiced separ¬ 
ately before making the letter. The first part of X is 
like the first part of W. It curves, however, a trifle 
more in the middle in order to make the connection 
with the second part easier. Make the two parts of X 
touch at half their height. Stop the motion at the base 
of the first part before making the swing. This stop 
steadies the hand and helps to get control of the move¬ 
ment. Study closely the movement required in swing¬ 
ing from the first to the second part. Make the two 
loops the same size. Observe closely the direction of 
the last down stroke in the small loop. 

Suggestive Counts: 

Loop-DOWN, down-loop; loop-CURVE, swing-down; 
1-stop, 3-4; 1-2, 3-4. 

Time Count: 

30—40 a minute. 

Timely Reminders: 

Work easily and you will improve rapidly. Study 
your errors to avoid making them- Strive for grace, 
accuracy, and smooth lines. Build habits of care, 
thoughtfulness, and continued effort. See that the 
hand is gliding freely on the tips of the third and 
fourth fingers. Keep the hand moving with the pen. 
Increased skill on one letter helps, in a way, all the 
rest. The X is a letter seldom used, but should be 
practiced nevertheless. 

Questions: 

What two movement drills should be reviewed as a 
preparation to make X? How many should be made 
in a minute in your grade? How many should be made 
on a line? Where is the only stop made? Why is it 


106 


Penmanship Made Easy 


necessary to make this stop? Why should the down 
strokes in X be well-curved? What direction is the 
pen moving when lifted from the paper? 

Words for Further Study and Practice of X: 

Xenia, Xerxes, Xavier, Xingu, Xenon. The X may 
be joined to small letters by omitting the lower loop. 
Watch size, slant, and spacing. You get out of a thing 
what you put into it. Work with confidence. Finish 
the words carefully. Write from three to four lines 
of each of these words in a minute. Try to control the 
movement as you write with ease and freedom. 

To the Teacher: 

Count with care. Call attention to the stops. Con¬ 
sider the “Timely Reminders.” 


THE SMALL x—HOW TO MAKE AND TEACH IT 

“Deliver us from indifference” 

(1) Study the form of this letter, then the move¬ 
ment. The last section of n, m, and h strves as a basis 
for this letter. Cross the letter with an up stroke and 
begin this stroke on the base line. In other words, 
make the up, down, and up strokes, lift the pen and 
then cross the down stroke or straight line with an up 
stroke on the same slant as other up strokes. If you 
cross with a down stroke, you will make the cross line 
too long. Special care should be taken to make this 
stroke correctly. 

(2) The letter may also be made without lifting the 
pen from the paper. This is done by making a push- 
pull stroke between the parts, but the style as de¬ 
scribed above is better. 

(3) The x may also be made by making the first 
part of n, lifting the pen and placing the last half of i 



Penmanship Made Easy 


107 


quite close to the first part. The x is easily made in 
this manner, after a little practice. 

Suggestive Counts: 

Over-down-under, cross; over-under, cross-up; 1-2, 
3 (first style); over-down-up-down-finish; 1-2-3-4 
(the retraced style) ; over-down, down-up; curve-down, 
touch-up; 1-2, 3-4 (third style). 

Time Count: 

(1) 40-55; (2) 35-50; (3) 35-50 a minute. 

Words for Further Study and Practice of x: 

vex, six, mixer, exhume, examine. Keep in mind the 
letter you are trying to improve. Cross the letter with 
care. Place the cross stroke half way between the two 
turns, and curve it but slightly. Make the x the way 
you can make it the best. Place the parts carefully. 
The x is not a difficult letter to make, if you practice it 
correctly. Watch size, slant and spacing. 


THE CAPITAL Y—HOW TO MAKE AND TEACH IT 

“Only from certainty comes power” 

The first part of Y is the same as the first part of U- 
A stop at the top of the first up stroke should be made 
the same as in U, but instead of swinging toward the 
elbow as in U, you should pull the long straight stroke 
directly toward the body. The point is about even 
with the lower part of the small beginning loop. In 
other words, the point is almost the full height of the 
letter. The second down stroke is a straight line, ex¬ 
cept for the turn at the base. The final up stroke 
crosses the straight down stroke at the blue line. Ob¬ 
serve closely the distance between the first and second 
stroke. Stop often to look over what you have done 
and criticise it as severely as you know how. 



108 


Penmanship Made Easy 


Suggestive Counts: 

Loop-down-up, LOOP; over-down-up, DOWN-over; 
loop-down-under, DOWN-loop; 1-2, 3-4; or 1-2, loop; 
or 1-2, 3. 

Time Count: 

30-45 a minute. 

Timely Reminders: 

Straight down strokes slant the same. Never rest 
the side of the wrist or hand on the paper. Place all 
material efficiently on the desk. Begin and end letters 
with the pen in motion. Maintain a good position at 
all times. Sit healthfully and efficiently as a habit. 
Hold the pen, pencil, and chalk loosely. 

Questions: 

How many turns in Y? Which one is the widest? 
At what height is the point? How far should the 
loop extend below the line? How many straight 
strokes in Y? How many curve strokes? Where do 
the lines cross? Which letters govern slant? An¬ 
swer: Loop letters. How should you sit as a habit? 

Words for Further Study and Practice of Y: 

You, Yours, Young, Yarnell, Ypsilanti- In writing 
words beginning with Y do not stop after making the Y 
and begin over again. Be careful to make a point in¬ 
stead of a loop. A stop is made at the top to help you 
in this respect. Be careful also, and do not make the 
letter too wide. The tendency is to carry the first up 
stroke too far to the right, and to slant the loop too 
much. Care is the watchword. Make short loops. 
Watch the slant of the down lines. Give close atten¬ 
tion to the connecting line between the loop in Y and 
the small letters. The word “Yours” should be prac¬ 
ticed thoroughly as it is used rather extensively as the 


Penmanship Made Easy 


109 


beginning word in the complimentary closing of a let¬ 
ter. You should write from three to four lines of each 
of these words in a minute. In order to write muscu¬ 
lar movement easily, you must write with a fair degree 
of speed. 

To the Teacher: 

Dictate a number of sentences beginning with Y. 
Ever keep in mind that sentence practice of this charac¬ 
ter helps to get better correlation in written subjects. 

THE SMALL y—HOW TO MAKE AND TEACH IT 

Give your attention to things that count 

The y is a combination of the last section of n, 
m, and h and the j. The y is also made by adding j 
to the first section of u. This way of making y is not 
highly recommended due to the fact that if the first 
stroke extends just a little too far to the right, the let¬ 
ter will take on the appearance of g. If, however, you 
prefer this style to the first mentioned, use it, but be 
extremely careful in making the first stroke- Regular¬ 
ity in length of loops should be striven for. To make 
loops even and regular is the result of uniform move¬ 
ment. Make rather short loops. Make loops rather 
quickly to insure rounding turns. Cross lower loop let¬ 
ters on the base line. 

Suggestive Counts: 

Curve-down-under, down-over; curve-under, down- 
loop ; 1-2, 3. Or 1-2, 3-4, 5-6, 7-8 when in groups of 
four. 

Time Count: 

45—60 a minute. 

Words for Further Study and Practice of y: 

you, yours, young, synonym, waylay. Write the 



110 


Penmanship Made Easy 


words rather close together. Use your arm freely. 
Try to make the letters uniform in height, distance 
apart, etc. Be careful in making all the different let¬ 
ters, but keep in mind it’s the y you are trying to im¬ 
prove today. Finish words as carefully as you begin 
them. The loop in y should extend down about half 
way between the lines. Be sure to cross on the base 
line, and carry the last curve up well. Locate the 
stops before counting for the words. Keep your mind 
on the subject at hand. 

To the Teacher: 

Remember to give but one or two suggestions at a 
time. 


THE CAPITAL Z—HOW TO MAKE AND TEACH IT 

“Zealously strive to do your best at all times” 

The upper part of Z is like the first part of Q, and 
the lower part is like small z. Observe that a small 
loop, not an angle, is used where the upper and lower 
parts join. Note particularly the size and position of 
this loop. The loop below the line is curved on both 
the up and down strokes. In this the Z and z are un¬ 
like the other lower loop letters. Make the two parts 
of Z on the same slant. The lower loop should extend 
but half way to the line below. Pause frequently to 
detect errors, then practice to overcome them. One 
must know formation before production is possible. 
The lines intersect at the base line. The up stroke in 
the loop is a left curve. Lift the pen from the paper 
while it is in motion. 

Suggestive Counts: 

Loop-DOWN-and-loop; down-over-DOWN-and-loop; 
loop-DOWN-over-loop; 1-2-3. 



Penmanship Made Easy 


111 


Time Count: 

35—50 a minute. 

Timely Reminders: 

Practice thoughtfully and carefully. Write easily 
and freely. Apply motion to all your letters. Train 
the hand to obey the mind. Let freedom of movement 
be your aim. Learn to see the slightest defect in form 
and execution. Think clearly and act quickly. Know 
what you are going to do first. Have a definite aim and 
aim to hit the mark. 

Questions: 

The upper part of Z is like what other letter? Does 
the down stroke extend to the left quite so far as in Q? 
What is the position of the small loop that connects 
the two parts? The loop below the line is like what 
other letter? How far does the lower part extend? 
What is the height of the letter above the line? How 
many should be made on a line in your grade? How 
many should be made in a minute? 

Words for Further Study and Practice of Z: 

Zoo, Zone, Zion, Zaner, Zanerian. Join the capital 
to the small letter, and write with free easy movement. 
Slow down the movement slightly just before making 
the middle loop. Doing this helps to control the move¬ 
ment, and steadies the hand. Work for uniform spac¬ 
ing, size, and slant. Do not slight the ending strokes. 
Space regularly between words. Write from three to 
four lines of each of these words in a minute. 

To the Teacher: 

Know where the slight interruptions occur in each 
word and name them just before starting to write it. 

Make practical application of Z. Remember that you 


112 


Penmanship Made Easy 


should always make application of the letter in writ¬ 
ing words and sentences before leaving it. 


THE SMALL z—HOW TO MAKE AND TEACH IT 

“Zeal in practice counts for much” 

The first two strokes in z are the same as in m. The 
loop is the same as that of Z, but not quite so wide. A 
stop at the base of the first down stroke is required in 
making z. Do not connect the two parts with a loop 
as in Z, but with a slight retrace.. Pass to the right a 
very short distance before making the loop. Do not 
make the upper and lower parts out of proportion to 
each other. The top part is the same size as the first 
section of m and n, and the loop part rather small. A 
line drawn through the straight down stroke in the n 
part should just touch the up stroke in the loop part. 

Suggestive Counts: 

Up-down, down-loop ; over-down, a-loop ; 1-2, 3-4 ; 
1, 2. To make four z’s in a group, count as follows: 
1, 2-3, 4-5, 6-7, 8. Count correctly. 

Time Count: 

45—60 a minute. 

Words for Further Study and Practice of z: 

zoo, zone, sneeze, buzz, mizzen. See that your po¬ 
sition is such as to encourage freedom and ease. Use 
good judgment in everything you do. Strive to im¬ 
prove the letter under consideration. Stop the move¬ 
ment at the base of the first down stroke. There is 
but one straight stroke in z. Be extremely careful in 
making z. Know what you must do to make a good 
letter, then do it. Practice each of these words over 
and over many times. Compare the first word with 
the last one to note improvement. 



Penmanship Made Easy 


113 


Figures Should at First be Practiced in the Order Described 
FIGURES—HOW TO MAKE AND TEACH THEM 

In order to make figures 1, 4 , 7, 6, and 8, get the 
movement under control by making the push-pull or 
straight-line drill one-fourth space in height. This ex¬ 
ercise should be made with a rapid in-and-out-of-the- 
sleeve movement. The figure 1 is a short, slanting, 
straight line. A definite stop is made at the base line. 
Pull this line directly toward the center of the body. 
Space evenly. Make the 1 in groups of ten. Count 
1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Make the last 1 horizontal. 
Four such groups should fill a line. Keep margins 
even, i.e., vertical. 

Suggestive Counts: 

DOWN; STRAIGHT; one; light. 

Time Count: 

125 a minute. 

The 1 may also be practiced advantageously across 
the lines. Place the 1 on the line so that the blue line 
will intersect it in the middle, and between the lines, 
make a dash. Count for this drill by saying 1 for the 
1, and 2 for the dash; as follows: 1-2—1—2, etc.; or 
1-2-3-4-5-6-7-8-9-10 and repeat. Make the 1 on 
the odd numbers and the horizontal stroke on the even 
numbers. 


THE FIGURE 4—HOW TO MAKE AND TEACH IT 

Make the first stroke straight and stop a short dis¬ 
tance above the base, then make another straight 
stroke running parallel to the blue line. Finish the 
figure with another straight stroke resting upon the 
base line. The third stroke should be parallel to the 
first and intersect the second or lateral stroke. The 



114 


Penmanship Made Easy 


third stroke should be somewhat taller than the first. 
Try to make the three lines straight, however, a very 
slight curve will appear in each; that is, if they are 
made quite rapidly. 

Suggestive Counts: 

Down-right-DOWN; with-straight-lines; 1-2-3. 

Make about 32 on a line. Keep columns and margins 
vertical. 

Time Count: 

60-75 a minute. 

Turn the paper and write across the blue lines and 
write the 1 and the 4 in the following manner: Make 
the 1 on the line as you did in the practice of 1, and the 
4 between the lines as you did the dash. The count 
for this exercise is: 1—2—3—4. 1 for the 1, and 2—3—4 

for the 4. The practice of figure-writing is very im¬ 
portant, since all figures must be absolutely legible. 


THE FIGURE 7—HOW TO MAKE AND TEACH IT 

The 7 is begun with a very short slanting stroke fol¬ 
lowed by a short lateral stroke and finished with a 
slanting straight stroke. About half of the last stroke 
should be made below the line. Make about 32 on a 
line. Keep margins even and columns straight. Space 
carefully. 

Suggestive Counts: 

Strike-over-down; dot-right-down; 1-2-3. 

Time Count: 

60-75 a minute. 

Practice 7 as you did the 4 by making it across lines 
in connection with 1 to the following count: 1-2—3-4. 

1 for the 1, and 2-3—4 for the 7. Also make it on the 
lines and between lines. 



Penmanship Made Easy 


115 


THE FIGURE 6—HOW TO MAKE AND TEACH IT 

The 6 is begun with a straight line and is somewhat 
higher than the other figures. At the base of the first 
stroke pass to the right, up, then down, making a small 
loop. The 6 rests on the base line. Note the open 
space between the two down strokes. Criticise your 
figures severely. Remember that each figure must 
stand for itself. Study the formation of figures very 
carefully. Practice the 6 singly, then with the 1 as 
described under 4, on page 113. 

Suggestive Counts: 

Straight-under-down; down-curve-loop; 1-2. 

Time Count: 

70-85 a minute. 


THE FIGURE 9—HOW TO MAKE AND TEACH IT 

Make an oval as in a and add to this a slanting 
straight stroke. The a part rests on the base line, and 
the straight stroke extends below the base line like 7. 
Be very careful to always close the 9 at the top. Fig¬ 
ures should be unmistakably easy to read. Be sure 
that your spacing is uniform. Make figures plainly, 
freely, and quickly. 

Suggestive Counts: 

Around-up-DOWN; oval-straight; round-down; 1-2. 
Time Count: 

70-85 a minute. 

Practice 9 singly, afterwards in combination with 1, 
as previously explained. Figures should be reviewed 
frequently. One illegible figure will spoil the whole 
column. 



116 


Penmanship Made Easy 


THE NAUGHT—HOW TO MAKE AND TEACH IT 

The naught is made with the direct oval movement; 
therefore, the compact direct oval drill should be re¬ 
viewed as a preparation to make it. Reduce the size 
of the direct oval drill to one-fourth of a space before 
taking up the 0. Your movement and speed should 
be materially increased by this practice. The naught 
is like the letter o, but more rounding. Remember to 
make it round in form and close it at the top. The 
ability to make extra good figures is very important. 
Practice faithfully upon them. 

Suggestive Counts: 

Around; circle; close-it; 1. 

Time Count: 

85-100 a minute. 

Practice the naught as previously explained for the 
4, 6, and 9. Make about 32 on a line. Fill in the space 
between the two lines by making another row. Make 

the top row first. Line them up. Work to improve 
your former efforts. 


THE FIGURE 8—HOW TO MAKE AND TEACH IT 

The compact direct and indirect oval should be re¬ 
viewed as a preparation to make the figure 8. Make 
the oval drill quite small and rapidly. Get in good 
trim so that you may be able to do your best work. Be¬ 
gin the 8 with a definite starting point; that is, place 
the pen on the paper before beginning the movement. 
Curve the down stroke strongly. Close the 8 and finish 
with a straight upward stroke. Keep the two white 
spaces relatively the same size. Lift the pen from the 
paper while the hand is moving. If you have learned 
to make the 8 well in the opposite direction, do not 



Penmanship Made Easy 


117 


make a change, as there is no serious objection to that 
habit. It is, however, best not to teach it the wrong 
way. The context, in written matter, gives one ground 
for inferring what an illegible letter should be, but not 
so with figures. Thus the importance of making un¬ 
mistakably plain figures. 

Suggestive Counts: 

Dot, down-up; dot, curve-up; close-the-8; 1, 2 (1 for 
the dot, and 2 for the loop and finish). 

Time Count: 

60-75 a minute. 

Practice the 8 as you did the other figures, first on 
the line, then by making two rows between two blue 
lines, and by making them across the lines with the 1 
as a guide. Remember to pause slightly after the 
count of 2 when practicing the 8 and 1 alternately. 


THE FIGURE 2—HOW TO MAKE AND TEACH IT 

The indirect oval should be practiced as a prepara¬ 
tion to make 2. The 2 begins with a very small or 
check-like mark or dot. The top and the down stroke 
in 2 should be neatly rounded. Form an angle and not 
a loop at the base of 2. Curve the final stroke slightly 
in order to make the angle sharper and more quickly. 
Accountants and others who have a great deal of figur¬ 
ing to do, use the angular finish in preference to the 
capital Q finish. Lift the pen from the paper as you 
make the final stroke slightly upward toward the right. 
Study the movement closely. Keep the figures directly 
under each other in writing them line by line. Do not 
begin the 2 with a loop since the loop will tend to 
make the figure too large. 



118 


Penmanship Made Easy 


Suggestive Counts: 

Dot, round-out; dot-curve-right; dot, down-swing; 
dot, 1-2; 1, 2-3. 

Time Count: 

85-100 a minute. 

Practice the 2 and 1 alternately, after spending some 
little time on it separately. Practice faithfully on the 
figures, remembering that in commercial work they are 
used more than letters. 


THE FIGURE 3—HOW TO MAKE AND TEACH IT 

Review the continuous reverse oval drill as a prepara¬ 
tion to make the 3. The 3 begins the same as 2, with 
a check-like mark or dot. The 3 is a part of two indi¬ 
rect ovals. Connect the two parts with a very small 
horizontal loop. The first oval part is not so large as 
the second. Curve the lower part horizontally and 
swing outward toward the left. Raise the hand and 
pen very slightly from the paper as you complete the 3. 
If you have a tendency to make the small horizontal 
loop in the center too large, use a little less pulling 
power and try not to make a loop at all. Draw a ver¬ 
tical line through the middle of 3 and note carefully 
how much farther the ending stroke extends to the left 
than the beginning point. Have you observed that 3 
is the reverse of E? 

Suggestive Counts: 

Dot, round-under; dot, round-round; dot, round¬ 
swing; 1, 2-3. 

Time Count: 

60-75 a minute. 



Penmanship Made Easy 


119 


Criticise your figures as severely as you know how. 
Remember that each figure must stand on its face value. 

Practice the 3 as you did the other figures, first sep¬ 
arately, then alternately with the 1. 


THE FIGURE 5—HOW TO MAKE AND TEACH IT 

The continuous push-pull or indirect oval drill, or 
both, should be practiced as a preparation to make the 

5. These exercises may be practiced, first one full 
space, then one-half, and one-third space. Relieve the 
tension of much very careful figure work by some quite 
large oval practice for a minute or two, then renew the 
figure practice. 

Begin the 5 with a short, straight stroke on the main 
slant, and add to this stroke the horizontal reverse oval 
part, then lift the pen and carefully place the short 
horizontal stroke. Study the movement required to 
bring the pen into position in applying the final stroke. 
Join the two strokes at the fop. 

Suggestive Counts: 

Down-under, right; down-round, over; one-swing, 
straight; 1-2, 3. 

Time Count: 

50-65 a minute. 

Practice the 5 the same as the other figures. The 
figures should also be practiced in their order, as: 12- 
34567890. The study and practice of figures should 
continue until pupils can make them with ease and 
rapidity, and in vertical columns. Practice on them 
miscellaneously. It is not well to practice them in the 
same order all the time. 



120 


Penmanship Made Easy 


To the Teacher: 

Name the figures, and have the pupils write them as 
you say them. All the various commercial signs should 
also be drilled upon until the pupils can write them 
rapidly and well. Count for these commercial signs 
according to the number of impulses of the pen, when 
writing them separately. 













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